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

点击翻译按钮获取中文摘要

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.