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Books > Language & Literature > Language & linguistics > Phonetics, phonology, prosody (speech)
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Dramatic Theories of Voice in the Twentieth Century (Hardcover, New)
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Dramatic Theories of Voice in the Twentieth Century (Hardcover, New)
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The problem of language constituted the most contentious subject of
the philosophies and human sciences in the twentieth-century and
drove what came to be known as the "linguistic turn" to Western
thought. Phenomenology, linguistics, analytic philosophy, speech
act theory, anthropology, psychology, poststructuralism, media
studies, and ordinary language philosophy-all addressed language as
the primary vehicle of human thought and communication, and queried
whether any accurate linguistic representation of reality were
possible. The sound of the human voice lay at the center of the
debate. The central question raised by Husserl's phenomenology and
de Saussure's linguistics, and discussed throughout the century,
concerned whether the sounds of the voice were intrinsic to meaning
or were simply relative. In a related phenomenon, vocal
experimentation marked the twentieth-century avant garde, which
included the nonsense verbal texts of Dada; the electronic
mediations of Samuel Beckett and Peter Handke; and the playful,
ironic, and confrontational performances of Laurie Anderson, Karen
Finley, and the Wooster Group. The experiments mirrored the
fixation with voice and language as expressed in the philosophies
and sciences. Yet despite the centrality of the voice for the
philosophy of language, linguistic study, and performance, no
book-length study before now has focused solely on vocal
expression. The voice ranks with gesture as one of two media of
communication available to every fully able-bodied human being, and
yet theatre studies tends to take a visual approach to its objects
of critique: the body, the dramatic text, and the mise-en-scene.
Because the voice registers as a crucial media of expression in the
theatre, theatre studies also can provide valuable contributions to
the discussion of voice and language undertaken in other
disciplines. The theatre as a social and public art form reveals a
great deal about what we think and feel in regards to our
communications with each other. This is the first book of theatre
studies to identify and articulate theories of voice as expressed
in the philosophies, human sciences, and physical sciences of the
twentieth century. It also identifies parallels between the
theories and the vocal practices of twentieth-century performances
that shared similar concerns with issues of language and mediation.
This book adopts as a central premise that the introduction and
proliferation of electronic forms of communication stimulated the
interest in voice and language in the scholarly discourses of the
twentieth century and stimulated as well the fascination with the
sounds of the voice as expressed in the twentieth-century avant
garde. Dramatic Theories of Voice in the Twentieth Century is the
only book of theatre and performance studies to address the sounds
of the human voice and as such ranks as an invaluable addition to
all theatre, philosophy, performance studies, communications, and
cultural studies collections.
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