1,720,991 research outputs found
‘The voice is the guide to the experience as well as the experience itself’: An interview with non zero one
No full textThis is the author accepted manuscript. The final version is available from the publisher via the DOI in this record.Since 2009, non zero one – a London-based collective of artists with a background and interest
in theatre but working across media and performance disciplines – has devised a series of
unexpected, challenging but also light-hearted and inviting experiences of immersion. Whilst
embracing a variety of techniques and contemporary media, one of the key features of the
company’s work is the exploration of audience interaction through the use of headphones,
typically in promenade and/or site-specific performance contexts. Following a first section that
questions the role of voice in (theatrical) sonic immersion, the text unfolds as a dialogue
between practitioner-scholar Konstantinos Thomaidis and non zero one artist and theatre
director Sarah Butcher. The interview lends an attentive ear to the role of voice in the
company’s work, from pre-recorded instruction to live audio interaction
Voice in devising/devising through voice: A conversation with Mikhail Karikis, Elaine Mitchener and Jessica Walker
No full textThis is the author accepted manuscript. The final version is available from the publisher via the DOI in this record.How is voice used in devising practices? What is the interplay between structure, freedom
and improvisation in such compositional practices? In what ways is voice conceived and
practised as material? In providing answers to such questions, this multi-vocal
interview/roundtable transcript is composed around the responses of three contemporary
vocal artists based in the United Kingdom, Mikhail Karikis, Elaine Mitchener and Jessica
Walker. Their work ranges from audio-visual installations and solo shows to immersive
performance and site-responsive work, and their deployment of vocality ranges from jazz and
Victorian music hall repertoires to extended vocal techniques and experimentations across
the speech–song continuum. In conversation with practitioner-scholar Konstantinos
Thomaidis, their responses offer valuable insights into current vocal experimentation but are
also an invitation to expand discussions around devising in the field of interdisciplinary voice
studies
LMYE Salon #2: Brandon LaBelle & Konstantinos Thomaidis - Vocal Positionings
No full textThis Salon conversation explores sound and meaning, the performativity of the self in listening and voicing, aural dramaturgies of inclusion/exclusion, and the intersections of history, politics and voice. This conversation was recorded on 01.07.2020
Rethinking Theatre Voices
No full textKonstantinos Thomaidis reflects on the relationship between voice, speech, language and theatre
Brandon LaBelle and Konstantinos Thomaidis: Vocal Positionings
No full textThis Salon conversation/podcast explores sound and meaning, the performativity of the self in listening and voicing, aural dramaturgies of inclusion/exclusion, and the intersections of history, politics and voice. It features excerpts from James Webb’s sound work A Series of Personal Questions Addressed to 5 Litres of Nigerian Crude Oil (2015) and from Thomaidis’s own autobiophonic piece A Voice Is. A Voice Has. A Voice Does (2018)
What is Voice Studies? Konstantinos Thomaidis
No full textThis is an Accepted Manuscript of a contribution to a multi-authored chapter
published by Routledge in Voice Studies: Critical Approaches to Process, Performance
and Experience the 29th of June 2015.Available online:
https://www.routledge.com/products/9781138809352Book chapter contributio
Listening Across
Get PDFThis is the author accepted manuscript. The final version is available from Intellect via the DOI in this record
Dramaturging the I-voicer in A Voice Is. A Voice Has. A Voice Does.: Methodologies of autobiophony
Get PDFThis is the author accepted manuscript. The final version is available from Intellect via the DOI in this record.This practice-research piece proposes autobiophony (vocal autobiography in/through voice) as both a new area of research for interdisciplinary voice studies practitioner-scholars and a distinct methodology for probing the interconnections of selfhood, narration, performativity, intersectional positionality and voicing. Using as a point of departure the PaR performance-lecture A Voice Is. A Voice Has. A Voice Does., devised by the author, this Voicing interrogates the makings of the polyvocal self as monophonic chorus. The I-voicer of the PaR piece is examined as both constitutively plural and communicatively dialogic (but never resolved as either), enacting a complex dramaturgy of belonging. Framed by a working manifesto on autobiophony, the Voicing below is itself composed in a way that invites autobiophonic engagement by the reader-listener and proposes suggestions of using autobiophony as pedagogy, performance analysis tool and research methodology
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