How can the concept of 'Failure' be used as a methodology to create a body of Experimental Music Theatre work?

如何将“失败”的概念用作创作实验音乐剧作品的方法论？

• 批准号: 2589987
• 金额: --
• 依托单位: Birmingham City University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2589987
• 关键词: How; concept; Failure; used; methodology

My research explores discourse on 'Failure' as an aesthetic category, applying these theories specifically within the context of Jennifer Walshe's manifesto, "The New Discipline" (2016). Alongside herself, Walshe includes James Saunders, Natacha Diels and Matthew Shlomowitz as artists who draw on multiple disciplines. By combining aspects of this new discipline and Punk DIY aesthetics, I will go beyond pre- existing work to create an oeuvre that can be used as a political and feminist strategy to overturn received expectations of female musicianship in experimental music.My research thus far has led me to Sara Jane Bailes' "Performance Theatre and the Poetics of Failure" (Routledge 2010). Failure has since been widely discussed in experimental theatre studies. Tim Etchells and Matthew Goulish's website, the "Institute of Failure", is a notable example. Merging cultural theory and artistic practice, Sarah Gorman's "Women in Performance: Repurposing Failure" (Routledge 2020) and Jack Halberstam's "The Queer Art of Failure" (Duke University Press 2011) discuss failure as an alternative route to 'conventional understandings of success'.Eldrich Priest's "Boring, Formless, Nonsense" (Bloomsbury Academic 2013) brings the discourse to experimental music. Priest himself remarks upon the lack of women practitioners in his study, claiming that 'in practice only those who have (always) already succeeded as social agents can play with failing, and in Western culture this has traditionally been the prerogative of men'. My research and work will explore how failure might be used as a political and feminist strategy, upturning expectations of female musicianship and bringing female Punk subversive aesthetics into the experimental music context.My primary research aims are to:1. Use failure as a decisive compositional aesthetic to break from, and challenge current compositional practice.2. Discover how setting out to fail affects the outcome of a work.3. Expand upon the discourse of failure in experimental music to include interdisciplinary work and challenge received expectations of female musicianship and the male lineage in experimental music.The main outcome of this research will be an original body of work that promotes failure as a hopeful strategy to liberate the creative mindset and establish a useful compositional method. As a collaborative

我的研究探讨了“失败”作为一个美学范畴的话语，具体应用这些理论在詹妮弗·沃尔什的宣言，“新学科”（2016）的背景下。除了她自己，Walshe还包括James Saunders，Natacha Diels和Matthew Shlomowitz作为艺术家，他们借鉴了多个学科。通过结合这一新学科和朋克DIY美学的各个方面，我将超越现有的工作，创造一个可以作为政治和女权主义策略来推翻实验音乐中女性音乐才能的预期的作品。我的研究到目前为止已经引导我到Sara Jane Bailes的“表演剧院和失败的诗学”（2010年）。从那以后，失败在实验戏剧研究中被广泛讨论。蒂姆·埃切尔斯（Tim Etchells）和马修·古利什（Matthew Goulish）的网站“失败研究所”（Institute of Failure）就是一个显著的例子。结合文化理论和艺术实践，莎拉·戈尔曼的《表演中的女性：重新定位失败》（2020年出版）和杰克·哈尔伯杰的《失败的酷儿艺术》（杜克大学出版社2011年出版）讨论了失败作为“传统成功理解”的替代路线。埃尔德里奇·普里斯特的《无聊，无形，胡说八道》（布卢姆斯伯里学术出版社2013年出版）将话语引入实验音乐。普利斯特本人在他的研究中评论了女性从业者的缺乏，声称“实际上只有那些（总是）已经成功的社会代理人才能玩失败，在西方文化中，这传统上是男人的特权”。我的研究和工作将探索失败如何被用作政治和女性主义策略，提升女性音乐家的期望，并将女性朋克颠覆美学带入实验音乐语境。使用失败作为一个决定性的组成美学打破，并挑战目前的组成实践。发现如何设置失败影响工作的结果。3.扩展实验音乐中失败的话语，包括跨学科的工作和挑战女性音乐家和实验音乐中男性血统的期望。这项研究的主要成果将是一个原创的工作，促进失败作为一种有希望的策略，以解放创造性思维，并建立一个有用的作曲方法。作为一个合作