Staging Auschwitz, Making Witnesses: Performances between History, Memory, and Myth

Bennett, Rachel

doi:10.1057/9781137393890_10

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“…for the audiences to become witnesses' . 59 This resonates with Yvette Hutchison's claim, in her examination of artistic representations of the TRC, that 'the move from a theatrical to a musical engagement with the TRC is significant, because it represents a shift from the individual speaking voice to multiple singing voices, exploring dialogue between individual soloists and the choir, and thus offering us ways of experiencing layers of witnessing and engaging with memory, both from the Commission and our own repertoires' . 60 Even though the idea of witnesscreation is not an explicit aim of REwind, with the assistance of the historical archive Miller participates in the continual temporalizing of TRC testimony and thereby invokes archival memories as breathing, sounding experiences for new audiences.…”

Section: Mediation and Testimonymentioning

confidence: 75%

Performing the South African Archive inREwind: A Cantata for Voice, Tape, and Testimony

Phillips-Hutton¹

2018

Twentieth-Century Music

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Abstract‘You can hear everything? You can hear my voice?’ The scratchy recording that opens REwind: A Cantata for Voice, Tape, and Testimony prefigures the questions of memory and performance that underlie Philip Miller's multimedia exploration of testimony from South Africa's Truth and Reconciliation Commission (TRC). In this article, I adapt Diana Taylor's concepts of the archive and the repertoire to questions of musical communication. I posit that Miller's collage of testimonial ‘shards’, images, and historic audio recordings disrupts the TRC's official narrative by replacing the archive's narrative of completion with one comprising deliberately disjointed moments of individual suffering. The result is an audiovisual creation that sutures together disparate elements to reflect the complexity of the South African truth-telling process. I suggest that in performance, Miller's work re-animates the TRC archive, bringing it into the contemporary repertoire where it re-inscribes the experiences of TRC testifiers for contemporary audiences.

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Section: Mediation and Testimonymentioning

confidence: 75%

Performing the South African Archive inREwind: A Cantata for Voice, Tape, and Testimony

Phillips-Hutton¹

2018

Twentieth-Century Music

View full text Add to dashboard Cite

show abstract

Staging Auschwitz, Making Witnesses: Performances between History, Memory, and Myth

Cited by 1 publication

References 0 publications

Performing the South African Archive inREwind: A Cantata for Voice, Tape, and Testimony

Performing the South African Archive inREwind: A Cantata for Voice, Tape, and Testimony

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