This paper focuses on how opera rehearsal participants use depictions to accomplish proposals; they use a locally created scene, comprised of concrete embodiments to represent another physically or temporally distant scene. Whereas earlier work investigating depictions in interaction has mainly focused on demonstrations in pedagogical scenarios, this paper will discuss how depictions serve the ongoing creation, and aesthetic negotiation, of a yet-to-be-artistic product. In simultaneously creating and referencing iterations of this artwork, participants' depictions are both self-referential, in introversive semiosis, as well as externally referencing prototypes of mundane behaviour, in extroversive semiosis. We argue that the negotiations of the extroversive and introversive references through depiction constitute the artistic labour of creating a performance. Furthermore, we suggest that the iterative nature of rehearsing an artistic piece demonstrates analogies between introversive semiosis and interactional techniques for projection and depiction. Opera is accomplished through dynamic collaborative social processes, techniques for which include the depictions described in this paper.

People speak not only under relaxed conditions but also during strenuous activities, and grammatical resources can be used to achieve displays of strain. This study looks at the relationship between progressivity of talk and bodily strain, focusing on the practice of temporarily suspending syntax while the speaker is accomplishing a physically challenging task. Based on examples from two different physical activities, rock climbing and opera rehearsals, the paper argues that the practice of suspending syntax is a resource available across contexts to render prominence to the strained body and highlight ongoing movement or other bodily action. By placing the strain-based display of incapacity to talk at a moment when the emerging syntactic structure is incomplete, participants maintain rights to resume talk while also presenting themselves as possessing the physical capacity to do so. Suspending syntax is shown to be a minutely timed speakers’ technique that takes advantage of the emergent nature of syntax and that demonstrates how speakers organize language in relation to the sensing and moving body.