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

这一实践AS研究(PAR)论文围绕观众在沉浸式表演中对声音的非自愿生理反应进行了调查，这些反应被描述为起鸡皮疙瘩、起毛、脊椎发抖，通常与强烈的情绪有关(Sachs和Murphey 2018)。它的运作是基于这样的假设：“我们去剧院是为了获得直接的内心体验”(Hurley，2010，p.xii)。它研究的概念是，声音作为声音被接受的身体吸收可以通过感官和感知方式产生影响，并带有同理心暗示。受Thomaidis(2014)为语音研究PAR提出的多模式三角测量模型的启发，我将制定一种实践与理论之间的动态关系。将创造身临其境的表演，作为基本的知识生成组件。这篇论文将通过重新定位声音如何被认为是对观众体验的触觉和本能的贡献者，为声音研究和沉浸式戏剧领域做出贡献。本研究提出三个关键问题：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)，以产生有利于表演中对声音刺激的生理反应的条件？3)如何利用表演中的声音来鼓励共情？(Hurley，2010；Sachs和Murphy，2018)研究方法本论文的研究目标将通过理性即理性、理性即语言和实践之间的多模式动态三角关系来实现(Thomaidis，2014，第85页)。受Nelson(2013)动态模型的启发，Thomaidis的“模型”旨在实现“与声音的多模式、‘混合’和新兴的参与”(Thomaidis，2014，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。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，将构成我方法论三角中理性方面的基础。这一贡献将通过提供对实践中探索的现象的一种远距离和同行评议的理解，确保“知识的重新呼唤不会以实践的去逻辑化为代价”(Thomaidis，2004，第86页)。理性-作为语言：在整个过程中，将进行我作为实践者-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，包括通过互动网站、Vox流行音乐视频访谈、反馈表格和演出后有针对性的问卷。这些来自观众的反思和回应将构成理论与实践之间三角关系的一部分。在稍后的过程中，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记物)在实践中进行改进后收集潜在观众反应的数据。这将有助于评估声乐戏剧对表演的改变相对于研究目的的有效性。实践：本论文的实践部分是跨学科的，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人的丰富经验，使用既定的技术和练习、即兴创作和文本来创作声乐材料，这将构成详细的声乐剧本的基础。材料的创建将导致预览表演，其中可以从观众那里收集定性数据(如上详细说明)。这之后将是另一个基于演播室的排练期，在那里，数据和理论的反馈循环将影响表演剧本的声音方面的重新工作和完善。在这段精细化阶段之后，将运行性能以进行数据分析。

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.