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Time and Performer Training addresses the importance and centrality
of time and temporality to the practices, processes and conceptual
thinking of performer training. Notions of time are embedded in
almost every aspect of performer training, and so contributors to
this book look at: age/aging and children in the training context
how training impacts over a lifetime the duration of training and
the impact of training regimes over time concepts of timing and the
'right' time how time is viewed from a range of international
training perspectives collectives, ensembles and fashions in
training, their decay or endurance. Through focusing on time and
the temporal in performer training, this book offers innovative
ways of integrating research into studio practices. It also steps
out beyond the more traditional places of training to open up time
in relation to contested training practices that take place online,
in festival spaces and in folk or amateur practices. Ideal for both
instructors and students, each section of this well-illustrated
book follows a thematic structure and includes full-length chapters
alongside shorter provocations. Featuring contributions from an
international range of authors who draw on their backgrounds as
artists, scholars and teachers, Time and Performer Training is a
major step in our understanding of how time affects the preparation
for performance.
Voice Studies brings together leading international scholars and
practitioners, to re-examine what voice is, what voice does, and
what we mean by "voice studies" in the process and experience of
performance. This dynamic and interdisciplinary publication draws
on a broad range of approaches, from composing and voice teaching
through to psychoanalysis and philosophy, including: voice training
from the Alexander Technique to practice-as-research; operatic and
extended voices in early baroque and contemporary underwater
singing; voices across cultures, from site-specific choral
performance in Kentish mines and Australian sound art, to the
laments of Kraho Indians, Korean pansori and Javanese wayang;
voice, embodiment and gender in Robertson's 1798 production of
Phantasmagoria, Cathy Berberian radio show, and Romeo Castellucci's
theatre; perceiving voice as a composer, listener, or as
eavesdropper; voice, technology and mobile apps. With contributions
spanning six continents, the volume considers the processes of
teaching or writing for voice, the performance of voice in theatre,
live art, music, and on recordings, and the experience of voice in
acoustic perception and research. It concludes with a multifaceted
series of short provocations that simply revisit the core question
of the whole volume: what is voice studies?
Voice Studies brings together leading international scholars and
practitioners, to re-examine what voice is, what voice does, and
what we mean by "voice studies" in the process and experience of
performance. This dynamic and interdisciplinary publication draws
on a broad range of approaches, from composing and voice teaching
through to psychoanalysis and philosophy, including: voice training
from the Alexander Technique to practice-as-research; operatic and
extended voices in early baroque and contemporary underwater
singing; voices across cultures, from site-specific choral
performance in Kentish mines and Australian sound art, to the
laments of Kraho Indians, Korean pansori and Javanese wayang;
voice, embodiment and gender in Robertson's 1798 production of
Phantasmagoria, Cathy Berberian radio show, and Romeo Castellucci's
theatre; perceiving voice as a composer, listener, or as
eavesdropper; voice, technology and mobile apps. With contributions
spanning six continents, the volume considers the processes of
teaching or writing for voice, the performance of voice in theatre,
live art, music, and on recordings, and the experience of voice in
acoustic perception and research. It concludes with a multifaceted
series of short provocations that simply revisit the core question
of the whole volume: what is voice studies?
Time and Performer Training addresses the importance and centrality
of time and temporality to the practices, processes and conceptual
thinking of performer training. Notions of time are embedded in
almost every aspect of performer training, and so contributors to
this book look at: age/aging and children in the training context
how training impacts over a lifetime the duration of training and
the impact of training regimes over time concepts of timing and the
'right' time how time is viewed from a range of international
training perspectives collectives, ensembles and fashions in
training, their decay or endurance. Through focusing on time and
the temporal in performer training, this book offers innovative
ways of integrating research into studio practices. It also steps
out beyond the more traditional places of training to open up time
in relation to contested training practices that take place online,
in festival spaces and in folk or amateur practices. Ideal for both
instructors and students, each section of this well-illustrated
book follows a thematic structure and includes full-length chapters
alongside shorter provocations. Featuring contributions from an
international range of authors who draw on their backgrounds as
artists, scholars and teachers, Time and Performer Training is a
major step in our understanding of how time affects the preparation
for performance.
How can we rethink the importance of voice in performance? How can
we understand voice simultaneously as music and text, as sound and
body, or as both personal and political? This book explores voice
across genres, media and cultures, inviting the reader to reassess
established ways of analysing, enjoying and listening to voice.
Using a wide range of case studies integrated with critical and
philosophical frameworks, it makes audible the multiple ways in
which voice contributes to how we perform identities. From opera
and musical theatre to live art and immersive audio walks,
Konstantinos Thomaidis presents voice as plural, elusive and ripe
for reinvention.
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