Voicelanding - Exploring the scenographic potential of acoustic sound in site-sensitive performance

• This practical artistic research project (Documented Artistic Research Project (Doctoral Thesis)) explores how the performance of acoustic sound in dialogue with site can create a sonic scenography, experienced by an audience from within the sonic structures. Six art projects were carried out in the context of this research. Their form varies due to the site-sensitive approach that is employed: the space and the participating musicians are both the source and the frame for the resulting spatial sound performances.During workshops the collaborating musicians are introduced to site-sensitive methods. They learn full-body listening, spatial sounding, and space-care. The musicians learn to co-create with the space. In a collaborative process, spatial sound compositions are created using the site-specific sonic material that is elicited from the dialogue between the performers and the space. The relation to the audience plays an important role in the sharing of the performance space and the experience of the sonic scenographies. Therefore, active audience encounter is considered practiced during the creative process towards the performance and it is further explored during each performance.As sound is invisible and ephemeral it is a vulnerable material to engage with when creating scenographies. In this research its instability has revealed itself as an indispensable quality of a scenography that aims to connect the elements of a shared space and to make their relations perceivable.There is a tendency to make ‘reliable’ material scenographies and to sustain spatial sound through audio systems while attempting to overcome the challenges a site brings to performance. This approach to performance, scenography, and spatial sound composition, however, limits the relation between acoustic sound and site. In my sonic scenographies the performers are dependent on the dialogue with the space in order to create sonic structures that can be experienced by an audience. The attention needed for this collaboration is space-care. It includes care for all entities in the space, and especially the audience. The ephemeral quality of acoustic sound creates an active sonic scenography that performs together with the musicians, and engages multimodal listening.The resulting spatial sound performance includes the placement and movement of sonic expressions that are specific for each instrument-site relation. In the created performance, as the audience can ‘roam through’ it, they can experience a sonic scenography that unfolds around them. In the interaction of performers and audience in these shared spaces (architectural space and sonic space) a social space can develop that allows for an ephemeral community to emerge.

Ämnesord

HUMANIORA  -- Konst -- Musik (hsv//swe)

HUMANITIES  -- Arts -- Music (hsv//eng)

HUMANIORA  -- Konst -- Scenkonst (hsv//swe)

HUMANITIES  -- Arts -- Performing Arts (hsv//eng)

Nyckelord

Space

sound

body

embodied

spatial

scenography

sonic scenography

participation

music

composition

singing

spatial sonic expression

ephemeral community

mattering

seeding

seminando

site

site-sensitive

site-specific

relation

co-creation

collaboration

spaces as voice teachers

listening into

listening

landing

space-care

the body of sound

un-un-listening

voice

interaction

spatial sound performance

senses

in-between

sense-based

Aesthetic subjects

Estetiska ämnen

Utbildning på forskarnivå i performativa och mediala praktiker

Third-Cycle Studies in Performative and Mediated Practices

Degree of Doctor of Philosophy in Fine Arts in Performative and Media Based Practices with Specialisation in Opera

Degree of Doctor of Philosophy in Fine Arts in Performative and Media Based Practices with Specialisation in Opera

Publikations- och innehållstyp

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