Staging Sound. Reflecting theatre music and sound design

Staging Sound. Reflecting theatre music and sound design

By David RoesnerEducationArtsMusicPerforming Arts
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Staging Sound. Reflecting theatre music and sound design episodes

  • Magic and Horror: Sound and Music in Theatres of the Past
    A conversation with Anna Ricke and Julia H. Schröder

    Guest in this episode are:

    Dr. Anna Ricke, who studied music theatre studies (B.A.) at the University of Bayreuth, musicology (M.A.) at the Cologne University of Music and Dance where she also wrote her PhD on "Smaragda Eger-Berg (1886-1954). Bohemienne - Musician - Sister. Conditions of artistic emancipation in Viennese modernism“. She is currently co-editor with Prof. Dr. Antje Tumat of the forthcoming „Handbuch für Schauspielmusik“ (Handbook for Theatre Music).

    Dr. Julia H. Schröder also holds a doctorate in musicology on the „In- and interdependency of music and dance in the Cage & Cunningham Collaboration. Her research interests include contemporary art music, 20th century music, sound art, graphic notation, music and dance as well as music/sound design in theatre and sound studies. She publishes and lectures internationally on these subjects. Research and teaching activities at various Berlin universities. Schröder co-conceived and co-edits the section "Auditive Perspectives" of the academic e-journal kunsttexte.de. Projects include: Theatre Noises (TU Berlin, FG Audio Communication), Landscape Sound Installations (Johannes Gutenberg University Mainz, ARS), On the Position of Music Listeners (Free University Berlin, SFB 626, Aesthetic Experience in the Sign of the Dissolution of Artistic Boundaries)

    References mentioned in the conversation include:

    Walpole, Horace: The Castle of Otranto (1764) https://en.wikipedia.org/wiki/The_Castle_of_Otranto

    Rein, Katharina, Techniken der Täuschung. eine Kultur- und Mediengeschichte der Bühnenzauberkunst im späten neunzehnten Jahrhundert, Marburg: Büchner, 2020.

    Robertson, Etienne Gaspard, Mémoires recréatifs, scientifiques et anecdotiques d’un physicien-aéronaute, 1831.

    Butterworth, Philip, Staging, Playing, Pyrotechnics and Magic: Conventions of Performance in Early English Theatre: Shifting Paradigms in Early English Drama Studies (Peter Harrop, Ed.), Routledge, 2022.

    Pisani, Michael V., Music for the Melodramatic Theatre in Nineteenth-Century. London & New York, Iowa 2014.

    Kelly, Michael, Reminiscences of Michael Kelly of the King’s Theatre and Theatre Royal Drury Lane, 2 Volumes, 2nd Edition, London 1826.

    Forthcoming: Ricke, Anna, "'[M]uch too terrible for representation'. Musik und Geräusch in Matthew Lewis’ Melodram The Captive (1803)", in: Musik und das Unheimliche, ed. by Christoph Hust/Ivana Rentsch/Arne Stollberg, München 2023.

    1 hr 5 min
  • Sound-led Performance
    A conversation with Julie Rose Bower and Yaron Shyldkrot

    You can find out more about Julie Rose Bower and Yaron Shyldkrot's work at

    http://www.julierosebower.com
    and
    https://www.yaronshy.com/about

    In particular, we talk about

    Feeling Thing: https://candoco.co.uk/work/feeling-thing/
    Safe Word: https://www.fyeandfoul.com/safeword
    Certain Ways: https://vimeo.com/315497968
    Tunnel, a redesign of Certain Ways as an audio walk can be found here: https://slowclinic.bandcamp.com/album/tunnel

    A few references to books or people mentioned during our conversation are:

    • Lehmann, Hans-Thies, Postdramatic Theatre. Translated by Karen Jurs-Munby. London & New York: Routledge, 2006.
    • Heiner Goebbels: https://www.heinergoebbels.com
    • Ross Brown: https://www.cssd.ac.uk/staff-profiles/prof-ross-brown
    • Ross Brown: Sound Effect The Theatre We Hear (2020) https://www.bloomsbury.com/uk/sound-effect-9781350045903/
    • Misophonia: https://en.wikipedia.org/wiki/Misophonia
    • SAS-ASMR: https://www.youtube.com/channel/UCp4LfMtDfoa29kTlLnqQ5Mg
    • Ergo-audition see: Michel Chion, “Epilogue. Audition and Ergo-Audition: Then and Now” (2011), in: Dieter Daniels, Sandra Naumann (eds.), Audiovisuology, A Reader, Vol. 1: Compendium, Vol. 2: Essays, Verlag Walther König, Köln 2015, pp. 670-684.
    • ASMR at the museum playlist: https://www.youtube.com/playlist?list=PLe2ihXndm5jseo_RGEGeEbPy09z0nlmZE
    • Donna Haraway, Cyborg Feminism, https://en.wikipedia.org/wiki/A_Cyborg_Manifesto
    • Theatre Noise: https://www.cambridgescholars.com/product/978-1-4438-3440-7

    1 hr 14 min
  • ICHNEUTAI by Sophocles – the invention of (theatre) music?
    A conversation with Konstantinos Thomaidis

    Many thanks for listening to Staging Sound!

    Guests today are Dr Konstantinos Thomaidis, and Prof. Dr. Millie Taylor

    A full transcript of this conversation is available at https://theatermus.hypotheses.org/?p=2692

    If you’d like to get in touch with the podcast, please email [email protected]

    1. A freely accessible translation of the play we are dicussing can be found here: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0221

    2. For the production by Mikhail Marmarinos, feel free to check the listing by the Athens and Epidaurus Festival (incl. photos and video trailer): https://aefestival.gr/festival_events/trackers/?lang=en

    3. Regarding the members of the creative team and cast that collaborated on the sonic aspects of the production, you can source more information on the links below:

      4. • Music by Billy Bultheel - his website: https://billybultheel.pro/ and snippets from Ichneutai: https://billybultheel.pro/html/trackers.html
      • For the counter-tenor Steve Katona (who played the role of Hermes): https://www.steve-katona.com/
      • The director Mikhail Marmarinos’ website: https://www.michailmarmarinos.com/

    4. For Tony Harrison’s The Trackers of Oxyrynchus and productions: https://www.open.ac.uk/arts/research/greekplays/poetry/tony-harrison/plays-classical-referents/trackers-oxyrhynchus. See also the chapter by Parkyn (2022): https://doi.org/10.1093/oso/9780198861072.003.0006

    5. For the first modern staging in Bad-Lauchstädt by Carl Robert, please read Hillgruber (2011): https://www.degruyter.com/document/doi/10.1515/apf.2011.241/html

    6. For the 1925 French opera La Naissance de la Lyre, check the score on as it is available in the public domain: http://fr.opera-scores.com/O/Albert+Roussel/La+Naissance+de+la+lyre.html. Read also the chapter by Corbier (2008).

    7. On the cultural debate around new music in 5th-century-BCE Athens, see chapter by Timothy Power (2012): https://brill.com/display/book/edcoll/9789004217621/B9789004217621-s016.xml

    8. For the tripartite division of modes of listening (causal, semantic, reduced) by Chion, check his book Audio-Vision (1994 / 2019).

    9. For a discussion of how voice can be used to stage impossible sound, see forthcoming chapter 'Staging (Theatre) Music Reception: Voicing Unacoustics in Sophocles’ Trackers' (Thomaidis 2024). For the methodology of vocal archaeology (part of which is tracing the sonic aspects of performance in the textual fragments), see Thomaidis (2021, 2022), and previous podcast on this series.

      10. BIBLIOGRAPHY

      Chion, Michel (1994 / 2019), Audio-Vision: Sound on Screen, transl. C. Gorbman, Columbia University Press.
      Corbier, Christophe (2008) “La Naissance de la Lyre d’Albert Roussel et de Théodore Reinach: des Satyres à l’Opéra”, in Jean-Christophe Branger et Vincent Giroud (eds), Figuresde l’Antiquité dans l’Opéra Français: des Troyens de Berlioz à Œdipe d’Enesco, Publications de l’Université de Saint-Etienne, pp. 311-346.
      Hillgruber, Michael (2011), "„Ohne das Hinterteil kann der Pudel nicht laufen.“ Zur Aufführung der Spürhunde des Sophokles unter der Regie Carl Roberts im Goethe-Theater Bad Lauchstädt", 57: 2, pp. 241-260.
      Parkyn, Lottie, 'The Originality and Influence of Tony Harrison’s The Trackers of Oxyrhynchus', in Sandie Byrne (ed.), Tony Harrison and the Classics, Classical Presences, Oxford, UK: Oxford University Press, pp. 117-134.
      Power, Timothy (2012), "Sophocles and Music", in Andreas Markantonatos (ed.) Brill’s Companion To Sophocles. Leiden, The Netherlands: Brill, pp. 281-304.
      Thomaidis, Konstantinos (2022), “Listening Back: Training as Vocal Archaeology”, Doctoral Plenary Day, Royal College of Music, London.
      Thomaidis, Konstantinos (2021), “Training as Vocal Archaeology”, Theatre, Dance and Performance Training Blog, Routledge: http://theatredanceperformancetraining.org/2021/04/training-as-vocal-archaeology/

      1 hr 4 min
    10. Memory and Sound, Voice and Archeology
      A conversation with Konstantinos Thomaidis and Pieter Verstraete

      Many thanks for listening to Staging Sound!

      Guests today are Dr Konstantinos Thomaidis, Dr Pieter Verstraete, Dr Anna R. Burzyńska and Dr. Julia H. Schröder

      If you’d like to get in touch with the podcast, please email [email protected]

      Here are some references in relation to our conversation:

      A) in relation to Konstantinos' research:

      1. The vocal in-between:

        2. For the notion of interstitial voice, please refer to Feldman (2015) and for Mladen Dolar’s Venn diagrams of the voice, check Dolar (2006). For the vocal in-between as the space of vocal co-production and the space emerging in this co-production, refer to Thomaidis (2020) and the closing chapter in Theatre & Voice (Thomaidis 2017). For the vocal in-between as methodology, refer to Thomaidis (2022).

      2. Ethno-oratorio:

        3. Konstantinos Thomaidis discusses the term ‘ethno-oratorio’ and how it applies to training and 'theatres of musicality' in the chapter “Singing from Stones: Physiovocality and Gardzienice’s Theater of Musicality” (Thomaidis 2014). The term was first coined by Polish critic Leszek Kolankiewicz and is quoted in Hodge (2010).
        There are several works on Gardzienice, but the latest collective publication is by Gontarski, Wisniewski and Kreglewska (2022).

      3. For Teatr Zar's production of Armine, Sister, please check the following links:

        4. http://teatrzar.pl/en/armine-sister-2/
        https://teatrzar.pl/wp-content/uploads/2020/05/miroslaw-kocur-sing-to-remember-teatr-2-2014.pdf

      4. For the production of Ichneutai mentioned in the podcast, please check:

        5. https://aefestival.gr/festival_events/ichneytai/
        The Greek terms Thomaidis uses for voice as all-encompassing (in the context of the play) are 'φθόγγος' and 'φθέγμα'.

      5. For Ochoa Gautier’s work on aurality in Colombia, see Ochoa Gautier (2014).

        6. REFERENCES

        Dolar, Mladen (2006), A Voice and Nothing More, Cambridge, MA: MIT Press.
        Feldman, Martha (2015), Why Voice Now? Journal of the American Musicological Society, 68(3), pp. 653–85.
        Gontarski, S.E., Wisniewski, Tomasz and Kreglewska, Katarzyna (eds) (2022), Włodzimierz Staniewski and the Phenomenon of “Gardzienice”, London: Routledge.
        Hodge, Alison (2010), “Wlodzimierz Staniewski: Gardzienice and the Naturalised Actor,” in Alison Hodge (ed.) Actor Training, London: Routledge, pp. 268–87.
        Ochoa Gautier, Ana Maria (2014), Aurality: Listening and Knowledge in Nineteenth-Century Colombia, Durham: Duke University Press.
        Thomaidis, Konstantinos (2022), “Listening Back: Training as Vocal Archaeology”, Doctoral Plenary Day, Royal College of Music, London.
        Thomaidis, Konstantinos (2020), ‘Dramaturging the I-voicer in A Voice Is. A Voice Has. A Voice Does.: Methodologies of autobiophony’, Journal of Interdisciplinary Voice Studies, 5:1, pp. 81–106, https://intellectdiscover.com/content/journals/10.1386/jivs_00017_1#
        Thomaidis, Konstantinos (2017), Theatre & Voice, Palgrave Macmillan/Springer.
        Thomaidis, Konstantinos (2014), “Singing from Stones: Physiovocality and Gardzienice's Theatre of Musicality”, in Dominic Symonds and Millie Taylor (eds) Gestures of Music Theater: The Performativity of Song and Dance, Oxford, UK: Oxford University Press, pp. 242-58.

        B) in relation to Pieter's research:

        A Kurdish Tosca (2019)
        Dengbej (narrator): Özcan Ateş
        Ali Tekbaş (Baron Scarpia)
        Gülseven Medar (Floria Tosca)

        The production of this Tosca was done by Theater RAST: https://www.rast.nl/english/

        and coproduced by Internationaal Theater Amsterdam, Amed Şehir Tiyatrosu, Teatra Jiyana Nû
        Director: Celil Toksöz
        Composer: Ardaşes Agoşyan
        Libretto in Kurmanji by Kawa Nemir

        The recording was done by Jin TV: https://jintv.net/en/. But courtesy of Celil Toksöz and Ardaşes Agoşyan.

        More information on the edited volume Theatre, Performance and Commemoration can be found here: https://www.bloomsbury.com/uk/theatre-performance-and-commemoration-9781350306783/.

        More links to books Pieter refers to in the talk:

        Anderson, B. (1991), Imagined Communities: Reflections on the Origin and Spread of Nationalism, London: Verso. https://www.worldcat.org/title/23356022.
        Halbwachs, M. (1980), The Collective Memory, trans. F.J. Ditter and V.Y. Ditter, New York: Harper & Row. https://www.worldcat.org/title/800628898.
        Small, C. (1998), Musicking: The Meanings of Performing and Listening, Hanover, NH: Wesleyan University Press. https://www.worldcat.org/title/767498404.
        Ünlü, B. (2016), ‘The Kurdish Struggle and the Crisis of the Turkishness Contract’, Philosophy and Social Criticism, 42(4–5): 397–405. https://www.worldcat.org/title/6027168524.
        Zerubavel, E. (1996), ‘Social Memories: Steps to a Sociology of the Past’, Qualitative Sociology 19.3: 283-300. https://www.worldcat.org/title/5655911283.
        For Barış Ünlü’s notion of the Turkishness contract, there is also an online article here: http://www.theauroraaustralis.net/turkishness-contract-and-turkish-left-baris-unlu/.

        1 hr 9 min
      6. Collaborative resonance
        Bella Merlin and David Roesner reflect on three joint projects. Hosted by Miles Anderson

        Guests:

        Bella Merlin (Ph.D., University of Birmingham) is an actor, songwriter, and professor of acting and directing at the University of California, Riverside. Trained at Moscow's State Institute of Cinematography, she has worked on stage and screen for nearly 30 years, including seasons at the National Theatre/Out of Joint (UK), Shakespeare & Company (USA), the award-winning film Mente Revolver (Mexico), and numerous roles on television, theatre and radio. A proponent of practice-as-research (PAR), she is published widely in several languages; books include Shakespeare & Company: When Action is Eloquence (Routledge, 2020); Acting: The Basics (third edition: Routledge, forthcoming 2024), The Complete Stanislavsky Toolkit (Nick Hern Books, Revised Edition, 2014) and Facing the Fear: An Actor's Guide to Overcoming Stage Fright (Nick Hern Books, 2016). Bella has led masterclasses across the globe from Australia to Zimbabwe. And with Dr. Paul Fryer (co-director of the Stanislavsky Research Centre), she co-founded the international series of symposia, The S Word, examining contemporary takes on Stanislavsky's system and legacy.
        www.bellamerlin.com

        Miles Anderson is an internationally acclaimed actor and director. Born in Rhodesia (now Zimbabwe), he trained at the Royal Academy of Dramatic Art. His most recent screen appearances in the USA include Hunters with Al Pacino, Joel Coen's The Tragedy of Macbeth with Denzel Washington and Damien Chazelle's LaLaLand with Ryan Gosling. He is perhaps best known in Europe for his television appearances as Colonel Aidan Dempsey in Ultimate Force (ITV), Roger O’Neill in House of Cards (BBC) and Colonel Dan Fortune in the hit series Soldier, Soldier (ITV). Theatre includes three seasons at the Old Globe San Diego; ten years at the Royal Shakespeare Company, and West End appearances such as Bill Sykes in Cameron Mackintosh's Oliver! Awards include the San Diego Critics' Circle Award for Best Actor in a Lead for his performance as King George in The Madness of George III, the San Diego Critics Circle Award for Outstanding Performance as Shylock in The Merchant of Venice, and three British Drama Awards including one for Dog in The Witch of Edmonton (RSC). His memoir Colonels, Cads and Charmers: Memories (2020) (written with Bella Merlin) has won Honorable Mentions at the Los Angeles Book Fair and the Southern California Book Fair. www.milesanderson.usTilly No-Body: Catastrophes of Love (full film):

        https://vimeo.com/789218685

        Tilly Blog (Bella Merlin)

        http://tillynobody-bellamerlin.blogspot.com/

        Genetics of ‚Incidental‘ Music (Blog entry on Composing Tilly, David Roesner)

        https://theatermus.hypotheses.org/1436

        „The Document as Music. Exploring the musicality of verbatim material in performance“ (David and Bella, Journal of Artistic Research, No. 15, 2018

        https://www.researchcatalogue.net/view/353508/353509

        20:20 Vision (full film)

        https://www.youtube.com/watch?v=387ggbg-iSQ

        Bella Merlin has also written a chapter on teaching on Zoom and the project 20:20 Vision. This will be published in Stanislavsky and Pedagogy, Routledge, 2024.

        1 hr 10 min
      7. Pop and Experiment: New impulses for (music) theatre
        A conversation with the Centre for the Less Good Idea in Johannesburg and Mirjam Schaub

        Centre for the Less Good Idea in Johannesburg

        https://lessgoodidea.com
        Mirjam Schaub, Burg Giebichenstein Kunsthochschule Halle
        https://www.researchgate.net/profile/Mirjam-Schaub-2

        1 hr
      8. Pop and Sound. Theatre, Music Theatre, Gig Theatre
        with Katja Lucker and Duška Radosavljević

        Guests were

        Katja Lucker and Duška Radosavljević

        References in the show include:

        Popkultur Festival Berlin
        https://www.pop-kultur.berlin
        Duska’s Book: Aural/Oral Dramaturgies. Theatre in the Digital Age (2022)
        https://www.taylorfrancis.com/books/mono/10.4324/9781003096337/aural-oral-dramaturgies-duška-radosavljević
        Masha Qrella
        https://www.faz.net/aktuell/feuilleton/pop/masha-qrella-singt-auf-woanders-texte-von-thomas-brasch-17204553.html
        Wim Wenders: Wings of Desire
        https://www.nickcave.com/films/wings-of-desire/
        Josef Kotarba
        https://www.researchgate.net/profile/Joseph-Kotarba
        Rio Reiser
        https://en.wikipedia.org/wiki/Rio_Reiser
        Sleaford Mods
        https://www.sleafordmods.com
        Ulrich Rasche
        https://de.wikipedia.org/wiki/Ulrich_Rasche
        Christoph Marthaler
        https://www.christophmarthaler.ch

        48 min
      9. Book launch: Aural/Oral Dramaturgies: Theatre in the Digital Age
        A conversation with Maaike Bleeker, Vânia Gala, Seda Ilter, Silvija Jestrovic, Lynne Kendrick, Flora Pitrolo and the author: Duška Radosavljević

        References (for the discussion of each book chapter of Radosavljević, Duška (2022) Aural/Oral Dramaturgies: Theatre in the Digital Age, London and New York: Routledge, https://www.routledge.com/AuralOral-Dramaturgies-Theatre-in-the-Digital-Age/Radosavljevic/p/book/9780367560744

        Chapter 1

        Bleeker, Maaike, Verhoeff, Nana, and Werning, Stefan (2020). ‘Sensing data: Encountering data sonifications, materialization, and interactives as knowledge objects’, Convergence: The International Journal of Research into New Media Technologies, 26:5–6, 1–20 (online-generated pdf). doi: https://doi.org/10.1177/1354856520938601

        Chapter 2

        Moten, Fred (2017) Black or Blur: Consent Not to Be a Single Being, Durham: Duke University Press, https://www.dukeupress.edu/black-and-blur

        Lehmann, Hans-Thies (1999/2006) Postdramatic Theatre, translated and introduced by Karen Jürs-Munby, London and New York: Routledge, https://monoskop.org/images/2/2d/Lehmann_Hans-Thies_Postdramatic_Theatre.pdf

        Green, Nic (2015) Cock and Bull https://www.auralia.space/laboratory2-nicgreen/

        Roesner, David (2014) Musicality in Theatre: Music as Model, Method and Metaphor in Theatre-Making, Farnham/Burlington:

        Ashgate, https://www.routledge.com/Musicality-in-Theatre-Music-as-Model-Method-and-Metaphor-in-Theatre-Making/Roesner/p/book/9781138248380

        Roesner, David, and Merlin, Bella (2018). ‘The document as music. Exploring the musicality of verbatim material in performance’, Journal for Artistic Research, 15. https://www.researchcatalogue.net/view/353508/353509/0/0

        Merlin, Bella (2007) ‘The Permanent Way and the impermanent muse’, Contemporary Theatre Review 17(1): 41–9. doi: https://doi.org/10.1080/10486800601096030

        Denzin, Norman K. (2003). Performance Ethnography: Critical Pedagogy and the Politics of Culture, Thousand Oaks, London, New Delhi: Sage Publications, https://us.sagepub.com/en-us/nam/performance-ethnography/book226197

        Smith, Anna Deveare (2018) Notes from The Field, https://www.annadeaveresmith.org/

        Iyer, Vijay (2004). ‘Exploding the narrative in jazz improvisation’. https://jazzstudiesonline. org/files/jso/resources/pdf/IYER–Exploding%20the%20Narrative.pdf

        Chapter 3

        Jestrovic, Silvija (2020) Performances of Authorial Presence and Absence: The Author Dies Hard, Cham: Palgrave Macmillan, https://link.springer.com/book/10.1007/978-3-030-43290-4

        Wodiczko, Krzysztof https://www.krzysztofwodiczko.com/about

        Iñárritu, Alejandro G. ‘Mexico’ in 9/11 (2002) https://www.imdb.com/title/tt0328802/

        Rambo Amadeus ’Smrt popa Mila Jovovica’ https://www.youtube.com/watch?v=s6X3aD3ki3s

        Karadžić, Vuk Stefanović https://en.wikipedia.org/wiki/Vuk_Karad%C5%BEi%C4%87

        Karadžić, Radovan https://www.theguardian.com/world/2008/jul/23/radovankaradzic.warcrimes5

        Parry, Milman https://www.britannica.com/biography/Milman-Parry

        Curtis Hanson (2002) 8 Mile https://www.imdb.com/title/tt0298203/

        Chapter 4

        Kendrick, Lynne (2017) Theatre Aurality, London: Palgrave Macmillan, https://link.springer.com/book/10.1057/978-1-137-45233-7

        Barnes Luke/ Middle Child (2017) All We Ever Wanted Was Everything https://www.middlechildtheatre.co.uk/all-we-ever-wanted-was-everything/

        Radosavljević, Duška (2013) Theatre-Making: Interplay Between Text and Performance in the 21st Century, Basingstoke: Palgrave, https://link.springer.com/book/10.1057/9781137367884

        Chapter 5

        Crouch, Tim (2009) The Author, http://www.timcrouchtheatre.co.uk/shows-2/the-author

        Ilter, Seda (2021). Mediatized Dramaturgy: The Evolution of Plays in the Media Age, London: Bloomsbury Methuen, https://www.bloomsbury.com/uk/mediatized-dramaturgy-9781350031166/

        Nancy, Jean-Luc (2007). On Listening, translated by Charlotte Mandell, New York: Fordham University Press, https://manchesterarthistory.files.wordpress.com/2011/09/listening-by-jean-luc-nancy.pdf

        Foley, John Miles (2012). Oral Tradition and the Internet: Pathways of the Mind, Urbana, Chicago, and Springfield: University of Illinois Press, https://www.press.uillinois.edu/books/?id=p078699

        Latour, Bruno (2005). Reassembling the Social: An Introduction to Actor-Network-Theory, Oxford: Oxford University Press, https://global.oup.com/academic/product/reassembling-the-social-9780199256051?cc=se&lang=en&

        Broadhurst, Susan (1999). Liminal Acts: A Critical Overview of Contemporary Performance and

        Theory, London and New York: Cassell, https://www.bloomsbury.com/us/liminal-acts-9781441144713/

        Filippo Michaelangelo Ceredi https://www.auralia.space/gallery5-filippomichelangeloceredi/

        Oliver Zahn https://www.auralia.space/gallery5-oliverzahn/

        Ong, Walter (1982/2002). Orality and Literacy: The Technologizing of the World, London and New York: Routledge, https://monoskop.org/images/d/db/Ong_Walter_J_Orality_and_Literacy_2nd_ed.pdf

        Chapter 6

        Pitrolo, Flora, Zubak, Marko (2021) Global Dance Cultures in the 1970s and 1980s. Disco Heterotopias, https://link.springer.com/book/10.1007/978-3-030-91995-5

        www.Auralia.Space

        https://www.auralia.space/decolonising-the-voice-podcast/

        Flora’s Guides: https://www.auralia.space/lend-me-your-ears/

        Hawkesworth, Celia (2000). Voices in the Shadows: Women and Verbal Art in Serbia and Bosnia, Budapest, London: Central European University Press, https://www.degruyter.com/document/doi/10.1515/9789633864685/html?lang=en

        1 hr 33 min
      10. Active Aurality
        How the Practices of Sound and Listening respond to Crisis

        Public panel from the conference „Krisenkünste“ (LMU Munich, 12-13 Jan 2023)

        https://www.kunstwissenschaften.uni-muenchen.de/veranstaltungen/krisenkuenstekonferenz/index.html#top

        Guests:

        Dr Duška Radosavjlević
        Is an academic, critic, dramaturg with Serbian roots, a long presence in the UK and currently based in Lund. She has worked on Ensemble Theatre(s) and most recently published an extensive website auralia.space and subsequent monograph on Aural / Oral Dramaturgies. Theatre in the Digital Age (2022).
        https://www.cssd.ac.uk/staff-profiles/dr-duska-radosavljevic

        Dr Lynne Kendrick works at the Royal Central School of Speech and Drama as Reader for New Theatre Practices. In 2011 she co-edited a book entitled Theatre Noise. The Sound of Performance. In 2017 she published Theatre Aurality – a core text on audiences experience of sound-based theatre. She has also founded and directed theatre companies such as Camden People’s Theatre.

        https://link.springer.com/book/10.1057/978-1-137-45233-7

        Aural/Oral Dramaturgies Website https://www.auralia.space

        Artist Silvia Mercuriali https://www.silviamercuriali.com
        Audio paper manifesto
        https://seismograf.org/fokus/fluid-sounds/audio_paper_manifesto
        Artist Group Darkfield https://www.darkfield.org/radio
        Complicité The Encounter http://www.complicite.org/productions/TheEncounter
        BBC The Dark is Rising https://www.bbc.co.uk/programmes/w13xtvp7
        Darkfield: Intravene https://www.intraveneshow.com

        46 min
      11. Book launch: Theatre Music and Sound at the RSC
        A conversation with Millie Taylor

        Guest

        Prof Dr Millie Taylor holds the Van den Ende Chair of the Musical at the University of Amsterdam. For almost 20 years she toured Britain and Europe as a freelance musical director in Musical theatre. I constantly use her and Dominic Symonds book Studying Musical Theatre (2014) in my course. More recently she has published Theatre Music and Sound at the RSC: Macbeth to Matilda (2018).
        https://www.uva.nl/en/profile/t/a/m.taylor2/m.taylor.html?cb

        References

        Taylor, Millie (2018), Theatre Music and Sound at the RSC. Macbeth to Matilda, London: Palgrave Macmillan. https://link.springer.com/book/10.1007/978-3-319-95222-2

        Larrue, Jean-Marc (2011), ‘Sound Reproduction Techniques in Theatre: a Case of Mediatic Resistance’, in: Kendrick, Lynne / Roesner, David (eds.), Theatre Noise. The Sound of Performance, Newcastle upon Tyne: Cambridge Scholars Publishing, pp. 14-22. https://www.cambridgescholars.com/product/978-1-4438-3440-7

        Paul Clark: »I try to offer a parallel world, which will sometimes

        collide with the journey of the drama«, in: Roesner, David (2019), Theatermusik. Analysen und Gespräche, Berlin: Theater der Zeit, 316–334. https://www.theaterderzeit.de/buch/theatermusik/
        Radosavljević, Duška and Pitrolo, Flora. (2021). "auralia.space. Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age." At: https://www.auralia.space.

        Notes:

        Roberto Gerhard was an important and well-respected contemporary composer in the 1950s and 60s who was already using electronics at that time, and who wrote the music for Macbeth 1962. Delia Derbyshire provided the sound materials alongside Guy Woolfenden's score for Macbeth in 1967. Craig Armstrong composed the score for the 2011 production of Macbeth with three cellos, that brought a totally unexpected minimalist soundworld to the piece. Adrian Lee, with percussionist Joji Hirota created the score for Macbeth 1999 that Millie talks about in relation to the change in annotation as well as sound. Another important person in changing the sound world, using electronic instruments, and devising graphic writing methods was Ilona Sekacz, whose scores begin from a conceptual approach to dramaturgy. Stephen Oliver was a very prolific composer for the company, while music by popular composers included: Duke Ellington (Timon of Athens, 1999), Cole Porter and George Gershwin (in a score for Two Gentlemen of Verona compiled by Guy Woolfenden), and more recently Laura Marling wrote the music for As You Like It in 2013.
        The interaction between sound design and music is most notable in the work of Ben and Max Ringham, brothers who work together or individually as sound designers and composers, drawing those two roles together.

        43 min

      About Staging Sound. Reflecting theatre music and sound design

      From the publisher's feed

      This podcast accompanies the research project "The Sound of Theatre", supported by the Centre for Advances Studies at the University of Munich. We will explore questions around the current research in this field of study, we will have conversations with artists and discussions about performances, and we will record presentations and papers that come out of our various cooperations.