Theatre Noise: The Sound of Performance

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9781443834407: Theatre Noise: The Sound of Performance

his book is a timely contribution to the emerging field of the aurality of theatre and looks in particular at the interrogation and problematisation of theatre sound(s). Both approaches are represented in the idea of noise which we understand both as a concrete sonic entity and a metaphor or theoretical (sometimes even ideological) thrust. Theatre provides a unique habitat for noise. It is a place where friction can be thematised, explored playfully, even indulged in: friction between signal and receiver, between sound and meaning, between eye and ear, between silence and utterance, between hearing and listening. In an aesthetic world dominated by aesthetic redundancy and aerodynamic signs, theatre noise recalls the aesthetic and political power of the grain of performance. Theatre noise is a new term which captures a contemporary, agitatory acoustic aesthetic. It expresses the innate theatricality of sound design and performance, articulates the reach of auditory spaces, the art of vocality, the complexity of acts of audience, the political in produced noises. Indeed, one of the key contentions of this book is that noise, in most cases, is to be understood as a plural, as a composite of different noises, as layers or waves of noises. Facing a plethora of possible noises in performance and theatre we sought to collocate a wide range of notions of and approaches to noise in this book by no means an exhaustive list of possible readings and understandings, but a starting point from which scholarship, like sound, could travel in many directions.

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About the Author:

Lynne Kendrick is a Lecturer in Drama at the Central School of Speech and Drama, University of London. Lynne is a researcher in theatre practices and processes of performance, including actor training and applied performance. Publications include A paidic aesthetic: an analysis of games in Philippe Gaulier s ludic pedagogy in Theatre, Dance and Performance Training Vol 2 (1) London: Routledge 2011, and Arts and Disability, Disability Arts in Minorities, eds. Lidstone & Roberts, London: Erasmus Arts and Media, 1996. She also works as a producer and is a founder member and trustee of Camden People s Theatre, London. David Roesner is a Senior Lecturer in Drama at the University of Exeter. His research interests include contemporary music theatre, experimental theatre, musicality of theatre. Some of his selected publications are: Theater als Musik. Tübingen: Gunter Narr 2003; Szenische Orte Mediale Räume (co-edited with Wartemann, G./Wortmann, V.), Hildesheim: Olms 2005; The politics of the polyphony of performance , Contemporary Theatre Review, 1/2008, pp. 44-55; Musicality as a paradigm for the theatre a kind of manifesto , Studies in Musical Theatre, Vol 4/3: 2010, pp. 293-306; Composed Theatre (co-edited with Matthias Rebstock). Bristol: Intellect 2011.

Review:

Theatre Noise: The Sound of Performance is a most welcome and timely contribution to the field of performance and theatre studies, supplying valuable optics with which to consider shifts in practices no longer susceptible to the conventions of textual and character analysis; and to describing the joint complexities of theatre-making and theatre-going. --Mike Pearson, Professor of Performance Studies Department of Theatre, Film and Television Studies, Aberystwyth University

Reading Theatre Noise is like holding a conch shell to the ear. Sounds familiar but long-ignored become magnified and theatrical. More than an inventory of noise, this book allows a sense of aurality to reconceive theatre space and performance space. Theatre s many noises become dramaturgical encounters. Through sounds, the contributors recognise performance spaces within our bodies, amongst the audience, between acts of utterance and acts of listening, and in the phenomenological potential of what is often considered the nuisance of noise. The anticipated protagonists are all present (John Cage, Roland Barthes, Samuel Beckett, Heiner Goebbels), but the contributors to this volume also introduce a contemporary collection of voices, exploring the theatre noise of the human and the machine, the actorly and the audient, the deaf and the blind, the immersive and the site-specific (Graeae, Shunt, Punchdrunk, the Wooster Group, Denis Marleau). This edited collection provides an important platform for an increasingly prominent field, and offers a resonant sounding-board for subsequent explorations of theatre noise. --Dr Dominic Symonds, Department of Drama Creative Arts, Film and Media, University of Portsmouth

Are we currently discovering sound? asks Patrice Pavis in the Preface to this book. And reading the essays in the book is indeed to make a voyage of discovery into aspects of theatrical experience and practice hitherto unaccountably muffled from our attention. The whole book offers rich proof of the rewards of the acoustic turn in contemporary theory. --Prof. Nicholas Till, Professor of Opera and Music Theatre (Centre for Research in Opera and Music Theatre), School of Media, Film and Music, University of Sussex

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Book Description Cambridge Scholars Publishing, United Kingdom, 2011. Hardback. Book Condition: New. Unabridged edition. Language: English . Brand New Book. This book is a timely contribution to the emerging field of the aurality of theatre and looks in particular at the interrogation and problematisation of theatre sound(s). Both approaches are represented in the idea of noise which we understand both as a concrete sonic entity and a metaphor or theoretical (sometimes even ideological) thrust. Theatre provides a unique habitat for noise. It is a place where friction can be thematised, explored playfully, even indulged in: friction between signal and receiver, between sound and meaning, between eye and ear, between silence and utterance, between hearing and listening. In an aesthetic world dominated by aesthetic redundancy and aerodynamic signs, theatre noise recalls the aesthetic and political power of the grain of performance. Theatre noise is a new term which captures a contemporary, agitatory acoustic aesthetic. It expresses the innate theatricality of sound design and performance, articulates the reach of auditory spaces, the art of vocality, the complexity of acts of audience, the political in produced noises. Indeed, one of the key contentions of this book is that noise, in most cases, is to be understood as a plural, as a composite of different noises, as layers or waves of noises. Facing a plethora of possible noises in performance and theatre we sought to collocate a wide range of notions of and approaches to noise in this book - by no means an exhaustive list of possible readings and understandings, but a starting point from which scholarship, like sound, could travel in many directions. Bookseller Inventory # AAZ9781443834407

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Book Description Cambridge Scholars Publishing, United Kingdom, 2011. Hardback. Book Condition: New. Unabridged edition. Language: English . Brand New Book. This book is a timely contribution to the emerging field of the aurality of theatre and looks in particular at the interrogation and problematisation of theatre sound(s). Both approaches are represented in the idea of noise which we understand both as a concrete sonic entity and a metaphor or theoretical (sometimes even ideological) thrust. Theatre provides a unique habitat for noise. It is a place where friction can be thematised, explored playfully, even indulged in: friction between signal and receiver, between sound and meaning, between eye and ear, between silence and utterance, between hearing and listening. In an aesthetic world dominated by aesthetic redundancy and aerodynamic signs, theatre noise recalls the aesthetic and political power of the grain of performance. Theatre noise is a new term which captures a contemporary, agitatory acoustic aesthetic. It expresses the innate theatricality of sound design and performance, articulates the reach of auditory spaces, the art of vocality, the complexity of acts of audience, the political in produced noises. Indeed, one of the key contentions of this book is that noise, in most cases, is to be understood as a plural, as a composite of different noises, as layers or waves of noises. Facing a plethora of possible noises in performance and theatre we sought to collocate a wide range of notions of and approaches to noise in this book - by no means an exhaustive list of possible readings and understandings, but a starting point from which scholarship, like sound, could travel in many directions. Bookseller Inventory # AAZ9781443834407

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Book Description Cambridge Scholars Publishing, 2011. Book Condition: New. Theatre provides a unique habitat for noise. 'Theatre noise' is a new term which captures a contemporary, agitatory acoustic aesthetic. This book is a contribution to the field of the aurality of theatre and looks in particular at the interrogation and problematisation of theatre sound(s). Editor(s): Kendrick, Lynne; Roesner, David. Num Pages: 265 pages, Illustrations, ports. BIC Classification: AN. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly. Dimension: 212 x 163 x 26. Weight in Grams: 500. . 2011. Hardcover. . . . . . Bookseller Inventory # V9781443834407

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Book Description Cambridge Scholars Publishing. Book Condition: New. Theatre provides a unique habitat for noise. 'Theatre noise' is a new term which captures a contemporary, agitatory acoustic aesthetic. This book is a contribution to the field of the aurality of theatre and looks in particular at the interrogation and problematisation of theatre sound(s). Editor(s): Kendrick, Lynne; Roesner, David. Num Pages: 265 pages, Illustrations, ports. BIC Classification: AN. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly. Dimension: 212 x 163 x 26. Weight in Grams: 500. . 2011. Hardcover. . . . . Books ship from the US and Ireland. Bookseller Inventory # V9781443834407

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