Episodes
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In this episode, Adrian, Duška and David talk to performance collaborators Persis Jadé Maravala and Jorge Lopes Ramos from ZU-UK (London) and sound-designer Gareth Fry (London) about the notion of collaboration and the specific process of design and creative development they engage with.
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In this episode we discuss the audio papers that were presented over the last few episodes on the role of collaboration in sound design and music composition for theatre by our esteems contributors: Alyson Campbell (Melbourne) and Meta Cohen (Melbourne), Paul Clark (London), Victoria Deiorio (Chicago), Jimmy Eadie (Dublin), Maciej Guzy (Krakow), Melanie Wilson (London), Demetris Zavros (Liverpool).
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In this episode, David introduces the final two audio papers, which were submitted to the conference and subsequently discussed at a panel on collaboration in sound design and music composition for theatre curated by Adrian Curtin, Duška Radosavjlević and David Roesner (which will be published in a future episode).
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In this episode, David introduces three more of the seven audio papers that were submitted to the conference and subsequently discussed at a panel on Collaboration in sound design and music composition for theatre curated by Adrian Curtin, Duška Radosavjlević and David Roesner (which will be published in a future episode).
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In this episode, David introduces two of the seven audio papers, which were submitted to the conference and subsequently discussed at a panel on Collaboration in sound design and music composition for theatre curated by Adrian Curtin, Duška Radosavjlević and David Roesner (which will be published in a future episode).
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The recent wave of interdisciplinary scholarship on/through voice has moved decisively away from perceptions of voice as singular, solipsistic or as tied to selfhood in one-directional or indexical ways. Voice (or rather: voicing or vocality) is now understood and practised as multiple, plural, and emergent. This curated panel seeks to embrace this approach and, in light of the symposium’s thematic remit, addresses vocal practice as a material or component of theatrical collaboration. Also, and crucially, it proposes a rethinking of theatre voice as collaboration. This part of the session consists of invited talks and demonstrations by artists that work with/through voice: Francesco Bentivegna, Alex Nowitz and Cathy van Eck.
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In this episode I talk to the composer David Rimsky-Korsakow about his path to becoming a theatre musician and a three-day workshop he gave in Munich as part of the "Theatre Sound" project, which was hosted by the Center for Advanced Studies (LMU Munich), The workshop was realized in collaboration with the theatre department at LMU Munch and the Theaterakademie August Everding, to whom I owe huge thanks!
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In this episode David talks to two artist/scholars, who create and research sound-led forms of performance: Julie Rose Bower and Yaron Shyldkrot. The conversation addresses their creative work, aspects of theatre in the dark, Foley work, sound as touch, ASMR, and the ethics of sound design.
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in this episode, we will focus on the connection of memory and sound, with a particular focus also on what role voice plays in the construction of a shared past We will touch on questions of identity, community, and performance in relation to things past and potentially lost.
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In this episode, Bella Merlin and David Roesner reflect on their transatlantic collaborations on the one-woman show "Tilly No-Body: Catastrophes of Love" (Davis (CA), 2010), "Singing the Document" (Munich 2016) and "20:20 Vision" (LA/Online, 2020/2021). In all three the sought to mix music, sound, and storytelling with techniques from verbatim theatre. In all three they produced both creative and research outcomes, seeking to develop new forms of disseminating their results and findings.
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During the global pandemic theatre-making and research practices drew particular attention to aurality. From the relocation of ‘live’ performance into ‘audio’ art, to the conscious ‘tuning in’ to the sound of online theatre – audiences and researchers alike re-engaged with the possibilities of sound and listening in theatre production. The concomitant reconfiguring of listening as a part of the methodology of making and research was, in turn, also inspired by new sound-led theatre practices that emerged in response to the contemporary moment. Focusing on UK examples of works that responded to the sonic possibilities of theatre during the pandemic, i.e. Darkfield and Sylvia Mercuriali, and research practices, including the website Auralia.space, this discussion with Duška Radosavljević and Lynne Kendrick will focus on the opportunities that approaches to aurality can present in the face of a global crisis of health, of sociality, and of the arts.
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