Visceral Vocalities: Investigating involuntary physiological audience responses to voice in immersive performance

本能声音：研究沉浸式表演中观众对声音的无意识生理反应

• 批准号: 2420833
• 金额: --
• 依托单位: University of Essex
• 依托单位国家: 英国
• 项目类别: Studentship
• 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=studentship-2420833
• 关键词: Visceral; Vocalities; Investigating; involuntary; physiological

This Practice as Research (PaR) thesis centres around an investigation of audience members' involuntary physiological responses to voice in immersive performance, described as goosebumps, hair raising, shivers down the spine and often related to intense emotions (Sachs and Murphey 2018). It operates on the assumption that, 'we go to theatre for the direct visceral experience' (Hurley, 2010, p.xii). It investigates the notion that voice as sound absorbed by receptive bodies can impact, in sensory and perceptual ways with empathic implications. Inspired by Thomaidis' (2014) multi-modal triangulation model proposed for Voice Studies PaR, I will enact a dynamic relationship between practice & theory. An immersive performance will be created as an essential knowledge-generating component. This thesis will contribute to the fields of Voice Studies and immersive theatre by re-positioning how voice can be considered as a haptic and visceral contributor to audience's experience.This research asks three key questions:1) How do factors situated within voice and immersive practice promote or inhibit physiological responses in audiences?2) Can a 'dramaturgy of performance' (Klich, 2019) be created to generate conducive conditions for physiological responses in performance in response to vocal stimuli?3) How can voice in performance be employed to encourage empathy? (Hurley, 2010; Sachs and Murphy, 2018)RESEARCH METHODSThe research aims of this thesis will be achieved using a multi modal dynamic triangulation between logos-as-reason, logos-as-language and practice (Thomaidis, 2014, p.85). Inspired from Nelson's (2013)dynamic model, Thomaidis' model aims to enable 'a multimodal, 'mixed' and emerging engagement with the voice' (Thomaidis, 2014, p.85) that challenges hegemonic assumptions and hierarchies and placesthe voicing of voice as a central concern. Logos-as-reason:Theoretical understandings of voice, immersive performance and affect theory as well as supporting material from evolutionary psychology and neuroscience will form the basis of the logos-as-reason side to my methodological triangle. This contribution will ensure that 'the revocalization of knowledge cannot come at the expense of the de-logosization of practice' (Thomaidis, 2004, p.86) by providing a distanced and peer-reviewed understanding of the phenomena explored in practice.Logos-as-language:Throughout the process, verbal and written reflections from myself as the practitioner-scholar will be undertaken. In addition, qualitative data from audiences will be collected by multiple means including via an interactive website, vox pop video interviews, feedback forms and targeted questionnaires after the performances. These reflections and responses from audiences will form part of the triangulation between theory and practice. Later in the process quantitative methods (heart rate variability, skin conductance response and other bio-markers of involuntary responses) will also be used to collect data on underlying audience responses after refinements are made in the practice. This will aid in assessingthe efficacy of the changes in vocal dramaturgy made to performance in relation to the research's aims.Practice:The practical components of this thesis are inter-disciplinary and consist of studio-based rehearsals & performances. I will draw upon my extensive experience as a performer and theatre maker to create vocal material using established techniques and exercises, improvisations and text which will form the basis of a detailed vocal script. The creation of material will lead to a preview performance where qualitative data (detailed above) can be collected from audiences. This will be followed by a further studio-based rehearsal period where a feedback loop of data and theory will influence a re-working and refining of the vocal aspects of the performance script. This period of refinement will be followed by a performance run for data analysis.

这篇实践即研究（PaR）论文的中心是调查观众对沉浸式表演中声音的非自愿生理反应，描述为鸡皮疙瘩，头发竖起，脊椎颤抖，通常与强烈的情绪有关（Sachs和Murphey 2018）。它的运作假设是，“我们去剧院是为了直接的内脏体验”（赫尔利，2010年，第十二页）。它调查的概念，声音作为声音吸收的接受机构可以影响，在感官和知觉的方式与移情的影响。受J.A.（2014）为语音研究PaR提出的多模态三角模型的启发，我将制定实践与理论之间的动态关系。一个身临其境的性能将被创建为一个重要的知识生成组件。本论文将通过重新定位声音如何被认为是观众体验的触觉和内脏贡献者来为声音研究和沉浸式戏剧领域做出贡献。本研究提出了三个关键问题：1）声音和沉浸式练习中的因素如何促进或抑制观众的生理反应？2)能否创造一种“表演的戏剧性”（Klich，2019），为表演中对声音刺激的生理反应创造有利条件？3)表演中的声音如何被用来鼓励移情？（Hurley，2010年; Sachs和Murphy，2018）研究方法本论文的研究目标将通过使用作为理性的理性，作为语言的理性和实践之间的多模态动态三角测量来实现（L.A.，2014，p.85）。受纳尔逊（2013）动态模型的启发，巴茨的模型旨在实现“多模态、”混合“和新兴的声音参与”（巴茨，2014年，第85页），挑战霸权假设和等级制度，并将声音的表达作为一个核心问题。逻各斯作为理性：对声音、沉浸式表演和情感理论的理论理解，以及来自进化心理学和神经科学的支持材料，将构成我的方法论三角形中逻各斯作为理性一面的基础。这一贡献将确保“知识的物化不能以实践的去逻各斯化为代价”（Escheriche，2004，p.86），通过提供对实践中探索的现象的远距离和同行评议的理解。逻各斯作为语言：在整个过程中，我将进行作为倡导者-学者的口头和书面反思。此外，观众的定性数据将通过多种方式收集，包括互动网站，vox pop视频采访，反馈表和针对性的问卷调查。观众的这些反映和反应将构成理论与实践之间三角测量的一部分。在该过程的后期，还将使用定量方法（心率变异性、皮肤电导反应和其他非自愿反应的生物标志物）来收集在实践中进行改进后的潜在观众反应的数据。这将有助于assessingthe efficacy的变化，声乐戏剧表演的研究的objectives.Practice：本论文的实践组成部分是跨学科的，包括基于演播室的排练和表演。我将利用我作为表演者和戏剧制作者的丰富经验，使用既定的技术和练习，即兴创作和文本，这将构成详细的声乐剧本的基础上的声乐材料。材料的创建将导致预览性能，可以从观众那里收集定性数据（上文详述）。接下来是进一步的录音室排练，数据和理论的反馈循环将影响表演脚本的声乐方面的重新加工和改进。这一改进期之后将进行性能运行，以进行数据分析。