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This article investigates the ontological significance of the voice, speech and listening within a theatrical context. Through an analysis of two performances; Societas Raffaello Sanzio’s ‘Giulio Cesare’ and Roger Bernat’s ‘Domini Públic’ it considers what might be in the voice that goes beyond language and that which is on the edge of understanding that might bring about alternative ‘ways of sensible being’ (Rancière 2009, p.10).
|Publication status||Published - 20 Jun 2012|
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