DescriptionTransdisciplinary Migrations: Aurality, Affect and Documentation Theatre is both a visual and acoustic event, yet the interrogation of contemporary performance practices from an aural perspective is currently limited. How might the migration of concepts from sound studies, such as vibration, rhythm, affect and atmosphere, facilitate alternative modes of thinking through and documenting the theatrical event? By acknowledging the shared environment created by aural relations, my approach marks a shift away from the use of headphones in audio-based artwork, a dominant trend within the field of theatre and performance studies of the past decade. In this paper, I am concerned with the articulation of process and affect occurring by aurally attending to the making, writing and thinking about contemporary performance practice. In doing so, I discuss how aurality directs attention towards certain objects, is organised through horizontal, vibrational relations and can be discerned in an attitude adopted by the one who attends the event. Ultimately, by writing and practising aural attention, I aim to make tangible that which might be at work in the production, transmission and mutation of affective tonality. In doing so, I put forward aural attention as a mode of becoming that an audience member might perform by lingering longer, exhausting and expanding the moment of encounter with another person, place or thing.
|Period||1 Sep 2017|
|Location||Salford, United Kingdom|
Project: Project from a former institution