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Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age

听觉/口剧戏剧：数字时代的逐字逐句、放大讲故事和演出戏剧

基本信息

批准号：
AH/S010750/1
负责人：
Duska Radosavljevic
金额：
$ 25.76万
依托单位：
Royal Central School of Speech and Drama
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2020
资助国家：
英国
起止时间：
2020 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FS010750%2F1
关键词：
Aural Oral Dramaturgies Post Verbatim

项目摘要

In the 21st century, contemporary live performance and theatre are increasingly concerned with exploring the potential of speech and sound. This project' focus on the aural aspects of speech, sound, voice and sound design replaces the late 20th century dominance of literary textuality (new writing) and/or corporeality (physical theatre) as the primary dramaturgical motors in live performance. Some notable works that illustrate this trend include Robert Lepage's Lipsynch (2008), Simon McBurney's The Encounter (2016) but also, more symptomatically, the works known as 'gig theatre' in the UK (by artists such as Kate Tempest, Christopher Brett-Bailey, Kieran Hurley, Rash Dash, Middle Child etc). The trend emphasising aurality/orality has an international dimension and can be detected in its various manifestations in the works of, for example, Taylor Mac in the US, Lola Arias in Argentina, Valentijn Dhaenens in Belgium. Other noteworthy examples that privilege the dramaturgical rather than a merely utilitarian or decorative use of sound in live performance include forms such as headphones theatre (Rimini Protokoll, Rotozaza, ZU:UK) ordinarily considered a form of immersive or participatory theatre.Taking a broad spectrum approach, but at the same time focusing on examples found at the intersection of orality, aurality and contemporary performance-making, the project seeks to also connect this trend to verbatim theatre of the early 2000s and to argue that the renewed interest of makers in speech and sound should be viewed together as a part of a paradigm shift, rather than as isolated phenomena or unrelated sub-species of contemporary performance. These trends can be understood as belonging to the same paradigm as they seek to engage the audience primarily, though not exclusively, through an act of listening.The project will provide leadership by taking an interdisciplinary approach to the topic bringing together insights and expertise from ethnography, philosophy, digital humanities, musicology, museology and voice training as well as dramaturgy, performance and theatre studies. It will involve original field research as well as networking and public engagement activities. A two-tier international research network consisting of a pre-appointed Steering Group and an Advisory Group yet to be convened will be engaged to support various leadership and public engagement activities. The Fellow will co-commission new work with Battersea Arts Centre (BAC), which will form part of primary research together with a series of interviews with a range of performance-makers and experts on speech and sound from other disciplines. The research will be disseminated through a podcast, an international project conference, a special journal issue, a monograph, a workshop and a professional practice document for curators.As an example of innovative collaborative research activity, the Fellow will work with sound producer Tim Bano, members of the Research Network and in partnership with BAC and Digital Theatre Plus (DT+), on creating a 12-part podcast series ('Lend Me Your Ears') to be hosted by the DT+ website as an open access feature, dealing with the research topic of the project in a way accessible to publics outside of academia. In order to foster wider impact, the Fellow will also work with voice coach Jane Boston on creating a public speaking workshop based on the research generated through this project. Additionally, she will engage in relevant knowledge exchange with V&A's curators to investigate together ways of developing use of aural dramaturgies in curatorial practice.All these activities will serve to generate different kinds of knowledge and/or research outcomes suitable for widest possible dissemination.

在21世纪的世纪，当代的现场表演和戏剧越来越关注探索语音和声音的潜力。这个项目的重点是语音，声音，声音和声音设计的听觉方面取代了世纪后期的文学文本（新写作）和/或身体（物理戏剧）作为现场表演的主要戏剧马达的主导地位。一些著名的作品说明了这一趋势，包括罗伯特Lepage的Lipsynch（2008年），西蒙McBurney的遭遇（2016年），但更具体地说，在英国被称为“演出剧院”的作品（由艺术家如凯特Tempest，克里斯托弗布雷特贝利，基兰赫尔利，皮疹短跑，中间的孩子等）。强调听觉/口头的趋势具有国际性，可以在美国的Taylor Mac，阿根廷的Lola阿里亚斯，比利时的Valentijn Dhaenens的作品中发现其各种表现形式。其他值得注意的例子，特权的戏剧性，而不是仅仅实用或装饰性的使用声音在现场表演包括形式，如耳机剧院（Rimini Protokoll，Rotozaza，ZU：英国）通常被认为是一种沉浸式或参与式的戏剧形式。采取广泛的方法，但同时专注于在口述，听觉和当代表演制作的交叉点发现的例子，该项目还试图将这一趋势与21世纪初的逐字戏剧联系起来，并认为应该将制作者对语音和声音的新兴趣放在一起看待。作为一种范式转变的一部分，而不是作为孤立的现象或当代表演的不相关的亚种。这些趋势可以被理解为属于同一个范式，因为它们主要通过倾听的行为来吸引观众，但不完全是通过倾听的行为。该项目将通过跨学科的方法来领导这个主题，汇集来自民族志，哲学，数字人文，音乐学，博物馆学和声音培训以及戏剧，表演和戏剧研究的见解和专业知识。它将涉及原始的实地研究以及网络和公众参与活动。一个两层的国际研究网络，包括一个预先委任的督导小组和一个尚未召集的咨询小组，将参与支持各种领导和公众参与活动。该研究员将与巴特西艺术中心（BAC）共同委托新的工作，这将构成主要研究的一部分，并与一系列表演者和其他学科的语音和声音专家进行一系列访谈。该研究将通过播客、国际项目会议、特刊、专题论文、研讨会和专业实践文件等方式传播。作为创新合作研究活动的一个例子，研究员将与声音制作人Tim Bano、研究网络成员以及BAC和Digital Theatre Plus（DT+）合作，创建一个由12部分组成的播客系列（“Lend Me Your Ears”），由DT+网站作为开放获取功能托管，以学术界以外的公众可以访问的方式处理该项目的研究主题。为了促进更广泛的影响，研究员还将与语音教练简·波士顿合作，根据通过该项目产生的研究创建一个公共演讲研讨会。此外，她还将与V&A的策展人进行相关的知识交流，共同探讨如何在策展实践中发展听觉戏剧。所有这些活动都将有助于产生适合最广泛传播的各种知识和/或研究成果。