Trailer
About the research project:
https://www.en.cas.uni-muenchen.de/research
groups/currentrg/rg_roesner/index.html
Prof. Dr. Ross Brown is a composer, musician and sound designer and Emeritus Professor of Sound at Royal Central School of Speech and Drama. He is the author of Sound. A Reader (2010) and “Sound Effect. The Theatre We Hear” (2020).
https://www.cssd.ac.uk/staff-profiles/prof-ross-brown
is an adjunct professor of theatre in the faculty of Polish Studies at the Jagiellonian University in Krakow and works as an academic, critic and dramaturg. She has published widely on radio art and theatre makers such as Heiner Goebbels, Christoph Marthaler, and Marta Górnicka.
is Associate Professor at University of Exeter. His research is wide ranging from modernism to contemporary orchestral theatre. In 2014 he published Avant-Garde Theatre Sound: Staging Sonic Modernity. He also works as a theatre musician.
https://drama.exeter.ac.uk/staff/curtin/
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.
Prof. Dr. Ursula Kramer is a musicologist at the University of Mainz with a particular research expertise on Schauspielmusik, which led to one of the very few German publications in this area: her edited volume Theater mit Musik. 400 Jahre Schauspielmusik im europäischen Theater from 2014.
https://www.musikwissenschaft.uni-mainz.de/personen/prof-dr-ursula-kramer/
Tamara Yasmin Quick is Senior Lecturer at the University of Bayreuth, having just finished her work on the DFG Project “Theatre music today as a cultural practice“ at the LMU Munich. She is in the process of finishing her PhD entitled Musical Embodiment – Live-Musicking on the contemporary theatre stage. Corporeal processes of performative identity formation. She also works as a dramaturg.
https://www.theapolis.de/de/profil/tamara-yasmin-quick
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
is a musicologist specialising in contemporary art music, sound art, sound studies, music and dance as well as sound and theatre. Her DFG postdoc project explores “theatre sounds” (Theatergeräusche) at Technical University Berlin. In 2015 she edited a book on sound/music in theatre focusing on Hans Peter Kuhn’s work for Robert Wilson and on Leigh Landy’s work for Heiner Müller.
https://www.udk-berlin.de/en/person/julia-h-schroeder/
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
Dr Konstantinos Thomaidis is Senior Lecturer in Drama, Theatre & Performance at the University of Exeter, UK. His publications include Voice Studies: Critical Approaches to Process, Performance and Experience” (2015), Theatre & Voice (2017) and Time and Performer Training (2019). He is also a practitioner and has worked as actor, director and musician.
https://humanities.exeter.ac.uk/drama/staff/thomaidis/
Dr Pieter Verstraete is Assistant Professor at University of Groningen and Marie Skłodowska-Curie fellow at Free University Berlin. He published his first book on “Auditory Distress and Aurality in Contemporary Music Theatre (2009), later co-edited a collection on “Cathy Berberian: Pioneer of Contemporary Vocality” (Routledge, 2014). Having worked extensively in Turkey, he also focuses on post-migrant theatre, artists in exile, and has a book forthcoming on “Theatre, Performance and Commemoration: Staging Crisis, Memory and Nationhood”
https://pieterverstraete.com
