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Sound Studies: Theories of the Material Voice

The three books reviewed here offer insights into some of the issues defining this emerging field, even as they propose new resources and new directions for conducting further research. After an overview of the evolution of vocal anatomy titled "Vocal Origins," each of the three theory cha...

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Bibliographic Details
Published in:Theatre journal (Washington, D.C.) D.C.), 2012-10, Vol.64 (3), p.445-458
Main Author: Finelli, Patrick
Format: Article
Language:English
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Summary:The three books reviewed here offer insights into some of the issues defining this emerging field, even as they propose new resources and new directions for conducting further research. After an overview of the evolution of vocal anatomy titled "Vocal Origins," each of the three theory chapters is followed immediately by another relating those theories to the work of theatre artists. [...]The Voice in Phenomenology and Existential ism" (Edmund Husserl, Martin Heidegger, Maurice Merleau-Ponty, and Jean-Paul Sartre) is followed by "The Voice in Theatres of Presence" (Antonin Artaud, Jerzy Grotowski, Peter Brook, and Richard Schechner); "Synchronic and Diachronic Voices" (Ferdinand de Saussure, Roman Jakobson, Edward Sapir, Benjamin Lee Whorf, Claude Lévi-Strauss, Victor Turner, and John Searle) is paired with "The Literarized Voice of the Modern Stage" (Bertolt Brecht, Eugene Ionesco, Samuel Beckett, and Peter Handke); and, after an interlude titled "Walter Benjamin's Technological Voice," Kimbrough addresses "The Poststructural Voice" (Jacques Derrida, Jacques Lacan, Michel Foucault, Jean-François Lyotard, and Jean Baudrillard), which is succeeded by "The Voice of the Postmodern Stage" (Robert Wilson, Richard Foreman, Karen Finley, Laurie Anderson, and the Wooster Group).
ISSN:0192-2882
1086-332X
1086-332X
DOI:10.1353/tj.2012.0065