Creating in the Dark: Conceptualizing Different Darknesses in Contemporary Theatre Practice

Jarvis, Liam

doi:10.5040/9781474251211.0011

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“…3 This article unpacks two exercises and the supporting theory. I argue that darkness, as an (im)material that performs (Jarvis 2017), is a theoretical and practical 'world' for training which foregrounds the phenomenology of sound and its materiality. I discuss different ways in which darkness destabilises the ear of the student as composer and how this opens up the possibility for other modes of experiencing and composing together with materials.…”

Section: Introductionmentioning

confidence: 98%

Devisers in the dark: reconfiguring a material voice practice

Behrens¹

2019

Theatre, Dance and Performance Training

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Camilleri puts forth the idea of the post-psychophysical: training is moving beyond the mindbody binary towards the complexity of negotiating the bodyworld. Performance practices today embrace an ever-wider range of what voice can do and be as well as what role it takes in a larger composition. What does this mean for training? This article proposes that there is a growing need for non-anthropocentric compositional voice practices. It proposes a voice training which draws on new materialism, object-oriented feminism (OOF), and aurality studies and employs strategies from theatre in the dark. Theorists such as Eidsheim and Kendrick argue that ocularcentrism, the privilege of sight in Western culture, is so normalised that radical strategies are needed to return to the potentiality of sound. The article describes a case study at the Norwegian Theatre Academy, in which training the voice in darkness was explored. It outlines two exercises and discusses an alternative theoretical/practical base for the human sounder in relation to dynamic worlds. Key areas discussed are how darkness facilitates: voicing self/selves; voicing together -(de)composition; plasticity as a way to talk about sound objects/actions; and applying Home-Cook's 'tending to', Jarvis's performing (im)materiality of darkness and Machon's discussions of the haptic and (syn)aesthetic as training principles. This article aims to contribute to the intersection of the fields of new materialism, aurality, theatre in the dark and deviser training.

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Section: Introductionmentioning

confidence: 98%

Devisers in the dark: reconfiguring a material voice practice

Behrens¹

2019

Theatre, Dance and Performance Training

View full text Add to dashboard Cite

show abstract

Creating in the Dark: Conceptualizing Different Darknesses in Contemporary Theatre Practice

Cited by 1 publication

References 0 publications

Devisers in the dark: reconfiguring a material voice practice

Devisers in the dark: reconfiguring a material voice practice

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