{"id":326,"date":"2021-12-15T09:20:39","date_gmt":"2021-12-15T09:20:39","guid":{"rendered":"https:\/\/www.critical-stages.org\/24\/?p=326"},"modified":"2026-06-22T10:04:05","modified_gmt":"2026-06-22T10:04:05","slug":"you-and-me-where-and-how-do-we-meet","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/24\/you-and-me-where-and-how-do-we-meet\/","title":{"rendered":"YOU and ME\u2014Where and How Do We Meet"},"content":{"rendered":"\n

Electa Behrens<\/strong>*<\/a> and \u00d8ystein Elle<\/strong>**<\/a><\/p>\n\n\n\n

Abstract<\/strong><\/h5>\n\n\n\n

YOU and ME\u2014Where and How Do We Meet<\/font> is a 40 minute film presenting our research focused on the intersectional materiality of the voice and the potentialities of aural diversity and audience agency. Within the larger framework of new materialism, aurality studies and critical race theory, we situate our work between Nancy, Kendrick, Eidsheim, Behar, DiAngelo, Gordon-Cook, Bonefant and Oliveros. This film examines how the video article format:
1. exposes and implicates the researcher\u2019s own embodied positionality.  We are trying to queer and appropriate whiteness: to take different faces and voices of whiteness and tweak, tear and intensify them\u2014so that they are no longer invisible or appear harmonious. We attempt to disturb the normalcy of the white frame of listening and thinking. 
2. allows for a wider range of language and non-language use, which might communicate the material more effectively and disturb normalized relationships between text, song and sound as meaning carriers.
3. complexifies the theoretical aspect of the work by the very fact of embodying the messiness of the space between \u201cclean\u201d theory and embodied action (Spatz, Campbell and Farrier).
This format offers a way to, as Donna Haraway writes, \u201cstay with the trouble.\u201d  This video is nothing if you do not have a conversation afterwards. Dramaturgically, it is a \u201cscore for audience.\u201d  The performance is really happening in your head. As you watch we ask you: when do you feel most comfortable, or uncomfortable? You and me, as vocal material, where and how do we meet?  

Keywords<\/strong>: Aural diversity, vocal material, critical whiteness, intersectionality, new materialism, object-oriented feminism, ethics<\/p>\n\n\n\n

\nhttps:\/\/vimeo.com\/660128598\/04af356903\n<\/div><\/figure>\n\n\n\n
Endnotes<\/strong><\/strong><\/h5>\n\n\n\n

[1]<\/sup>The following section is an excerpt from our You and Me<\/em> series performance lecture at the online Alliances and Commonalities conference hosted by Stockholm University of the Arts. The material was first developed for a seminar at Vega Scene in Oslo as part of the Material Strategies research project (2019). Here we began to identify and explore some of our methodologies which this video article develops further.<\/p>\n\n\n\n

Katherine Behar\u2019s Object Oriented Feminism<\/em>, offered some important grounding ideas. They are the principles of PEE (abbreviation coined by Electa): politics, ethics and erotics. Behar writes of \u201cthree significant aspects of feminist thinking in the philosophy of things: politics,<\/em> engaging with histories of treating certain humans (women, people of color, and the poor) as objects; erotics,<\/em> employing humor to foment unseemly entanglements between things; and ethics, <\/em>refusing to make grand philosophical truth claims, instead staking a modest ethical position that arrives at being \u201cin the right\u201d by being \u201cwrong\u201d (back page summary, 2016).<\/p>\n\n\n\n

Dramaturgically we have experimented with, among other things: separation of the body and voice, no one speaking their own words, manipulation of the voice especially in relation to gender norms, mixing, tweaking or queering written and musical formats, costume which explores body as hybrid object, density of sound\/image which provokes an audience to be aware of their aural diversity and aural agency and humor. In approaching our own whiteness as a topic, we were looking to both resist and embrace white fragility through creating situations of durational discomfort with our own multiple positionalities.<\/p>\n\n\n\n

Katy Waldman writes in her article \u201cA Sociologist Examines the ‘White Fragility’ That Prevents White Americans from Confronting Racism”:<\/p>\n\n\n\n

Robin DiAngelo coined the term \u201cwhite fragility\u201d to describe the disbelieving defensiveness that white people exhibit when their ideas about race and racism are challenged\u2014and particularly when they feel implicated in white supremacy. Why, she wondered, did her feedback prompt such resistance, as if the mention of racism were more offensive than the fact or practice of it? . . .  And the expectation of \u201cwhite solidarity\u201d\u2014white people will forbear from correcting each other\u2019s racial missteps, to preserve the peace\u2014makes genuine allyship elusive. White fragility holds racism in place.<\/p>\n\n\n\n

[2]<\/sup>The song is a traditional Norwegian lullaby with no known author. The breastpump was given to Electa by her friend who said: I never want to see one of these again.<\/p>\n\n\n\n

[3]<\/sup>\u00d8ystein\u2019s listening corner in his living room.<\/p>\n\n\n\n

[4]<\/sup>Saul Garcia Lopez is our colleague at the Norwegian Theatre Academy who agreed to help us out with this video. He speaks here in his own self-created language and then in English. We told him about the project and the vision for this scene. From there he created the text and together we agreed on the staging. You can read more about his own practice and research here<\/a> and here<\/a>.<\/p>\n\n\n\n

As has been written about by many, the positionality of non-white researchers within academic institutions is difficult. There is a long history of underrepresentation, and navigating academia once they have gained entrance is a complex negotiation which includes many double binds. In relation to the complex positionality of indigenous practitioners within the context of academic research Tuhiwai Smith writes: \u201cIndigenous peoples have been, in many ways, oppressed by theory\u201d (38). And <\/p>\n\n\n\n

The Western academy . . . claims theory as thoroughly Western . . . has constructed all the rules by which the indigenous world has been theorized, indigenous voices have been overwhelmingly silenced. The act, let alone the art and science, of theorizing our own existence and realities is not something which many indigenous people assume is possible. Frantz Fanon\u2019s call for the indigenous intellectual and artist to create a new literature, to work in the cause of constructing a national culture after liberation still stands as a challenge . . . many indigenous scholars who work in the social and other sciences struggle to write, theorize and research as indigenous scholars. (29)<\/p>\n\n\n\n

Note: This last paragraph speaks to our own process of education on this subject, not Saul’s standpoint.<\/p>\n\n\n\n

[5]<\/sup>\u201cThe Cold song\u201d is originally from the semi-opera King Arthur<\/em> by Henry Purcell and John Dryden, first performed in 1691. In 1981, the iconic new wave- artist Klaus Nomi performed this aria one octave higher than the original, bringing it into the range for countertenors. \u00d8ystein has a long history with this song, as he incorporated it in two of his theatre productions, Klaus Nomi\u2014Angel of Suburbia<\/em> (2011) and Klaus Nomi\u2014The Loner<\/em> (2017). These performances ask how free we are to stage ourselves, about difference and exclusion, about love, fear of death and the need for attention. In these productions, \u00d8ystein stages and performs the song as a homage to the last performance Klaus Nomi did when suffering from AIDS, shortly before he died, in August 1983. <\/p>\n\n\n\n

The next sung section is a short excerpt from \u00d8ystein\u2019s visual performance-concert, Territorium<\/em>, a score partly constructed around memories of voices in his head as a child. He uses his voice for sonic recollection of this auditory memory. Giving voice to his multiple selves, expressing fear, longing, hope and confusion. <\/p>\n\n\n\n

[6]<\/sup>The text that Electa says is taken from an interview of Tori Amos speaking about her many miscarriages. This text was part of the performance One By One,<\/em> a one person show which Electa devised in 2011 around this topic, personal responsibility, the butterfly effect and climate change. When \u00d8ystein says, \u201cI don\u2019t believe you, those are not your words,\u201d this was a paraphrase taken from a feedback session we had after our performance lecture at the Material Strategies seminar at Vega Scene 2019. <\/p>\n\n\n\n

[7]<\/sup>Our methodology for creating this session was to do a three-hour uninterrupted session without a script. Our aim was \u201cto try to have the conversation that needs to be had\u201d without hiding behind the comfort of well articulated theory, coded speech or token allyship. As Tuhiwai Smith writes: \u201cimperialism cannot be struggled over only at the level of text and literature\u201d (19). We here try to transgress what DiAngelo calls the \u201cGood\/Bad Binary,\u201d a narrative which suggests that if one is \u201cgood,\u201d one cannot be racist. She calls this the \u201cmost effective adaptation of racism in recent history\u201d because it effectively stops white people who have the image of themselves as progressive, from examining their behaviour which contributes to systemic racism (71). Jan Hajdelak Hust\u00e1k, our video editor, made the cuts without any direction from us, choosing how to edit this section down to a few minutes. Giving away this power of choosing how our voices were edited was a strategy to further expose our own thinking and blindspots. <\/p>\n\n\n\n

[8]<\/sup>The voices you hear are the participants of the online Commonalities and Alliances Conference, Stockholm University of the Arts. They were asked to type comments into the zoom chat after the performance lecture and then \u00d8ystein, Electa, Durga and Nicolaj read off the comments. They were then processed via a looper and mixed with drums and synth lines. This was a live improvisation that was recorded.<\/p>\n\n\n\n

[9]<\/sup>\u00d8ystein and Electa here speak their own texts, naming their own material reality, making their privilege as visible and palpable as possible. DiAngelo writes about meritocracy, the idea that hard work will bring you rewards, regardless of background. She acknowledges her own unconsciously held assumption when growing up that \u201cupward mobility would take me to whiter spaces\u201d (66). <\/p>\n\n\n\n

It may be useful to conceptualize research on White emotions as falling somewhere on a bipolar continuum anchored by the following: (a) emotions associated with prejudice and discrimination and (b) emotions associated with antiracism, White allies, and social justice. The construct White guilt<\/em> has been central to much of this emotion-focused work, as psychologists have explored the degree to which feeling remorseful about racism and racial inequality may facilitate or inhibit antiracist attitudes and behavior (Iyer, Leach, and Crosby<\/a>; Swim and Miller<\/a>). Our goal was to refine the theoretical conceptualization and measurement of White guilt1<\/sup>, and to distinguish White guilt from other emotions, namely White shame<\/em>, that may obscure the consequences of White racial emotions for combating racism and promoting social justice (Grzanka et al. 49).<\/p>\n\n\n\n

[10]<\/sup>This is Electa\u2019s son Raven who sings Jingle Bells. Kyna Hamill researched the origin of this song and found that it had roots in minstrelsy. She received a lot of press for her findings, including a lot of hate mail. When reflecting on the response she received, she commented that she was often misquoted and misinterpreted, that she had never meant to tell people not to sing the song, just to make its origins known. She said, \u201cSo I think people just want to be heard and nobody seems to be listening any more\u201d (qtd. in Kassam).<\/p>\n\n\n\n

Bibliography<\/strong><\/h5>\n\n\n\n

Aasen, Elise. \u201cLux Illuxit Laetabunda<\/a>.\u201d The World-Tree Project<\/em>, 9 Oct. 2011.<\/p>\n\n\n\n

Ahmed, Sarah. What\u2032s the Use? On the Uses of Use<\/em>. Duke UP, 2019.<\/p>\n\n\n\n

\u201cThe Artists of Colour<\/a>.\u201d The Artists of Colour<\/em>. The text is adapted by \u00d8ystein Elle. Artists of color is replaced with “White western artists.”<\/p>\n\n\n\n

Barad, Karen Michelle. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning<\/em>. Duke UP, 2007.<\/p>\n\n\n\n

Behar, Katherine. Object-Oriented Feminism<\/em>. U of Minnesota P, 2016.<\/p>\n\n\n\n

Behrens, Electa, and \u00d8ystein Elle. \u201cYOU AND ME AS VOCAL MATERIAL\u2014Where and How Do We Meet?\u201d Material Strategies<\/a><\/em>, edited by Patricia Canellis et al, 25 Mar. 2019.<\/p>\n\n\n\n

Behrens, Electa. One by One<\/em>. Directed and performed by Electa Behrens. June 2011, Jarmond Studios, Kent University.<\/p>\n\n\n\n

Bonenfant, Yvon. \u201cVoice, Identity, Contact.\u201d Journal of Interdisciplinary Voice Studies<\/em>, vol. 3, no. 2, 2018, pp. 107\u201313, doi:10.1386\/jivs.3.2.107_2.<\/p>\n\n\n\n

DiAngelo, Robin. White Fragility, Why It\u2019s So Hard for White People to Talk About Racism.<\/em> Beacon Press, 2018.<\/p>\n\n\n\n

Dolar, Mladen. \u201cA Voice and Nothing More.\u201d 2006, doi:10.7551\/mitpress\/7137.001.0001.<\/p>\n\n\n\n

Drever, John Levack. \u201c\u2018Primacy of the Ear\u2019\u2014But Whose Ear?: The Case for Auraldiversity in Sonic Arts Practice and Discourse.\u201d Organised Sound,<\/em> vol. 24, no. 1, 2019, pp. 85\u201395, doi:10.1017\/s1355771819000086.<\/p>\n\n\n\n

Eidsheim, Nina Sun. Sensing Sound: Singing and Listening as Vibrational Practice<\/em>. Duke UP, 2015.<\/p>\n\n\n\n

\u2014\u2014\u2014. The Race of Sound, Listening, Timbre, and Vocality in African American Music<\/em>. Duke UP, 2019.<\/p>\n\n\n\n

Elle, \u00d8ystein. \u201cTerritorium (Raw Documentation from Kathmandu)<\/a>.\u201d Vimeo<\/em>, 15 Apr. 2021. Excerpt from the Visual Theatre-Concert, Territorium.<\/p>\n\n\n\n

Fischer-Lichte, Erika. The Transformative Power of Performance: A New Aesthetics<\/em>. Routledge, 2008.<\/p>\n\n\n\n

Freymond, Jen. \u201cI Just Think Black Women Should Be Nicer to Me about Racism<\/a>.\u201d The Offing<\/em>, 20 June 2019.<\/p>\n\n\n\n

Garrelfs, Iris. \u201cThe Listening Wall: Strategies for Scored Listening.\u201d Sound, Voice & Music Working Group, TAPRA Conference, 2019, Exeter University.<\/p>\n\n\n\n

\u2014\u2014\u2014. \u201cNeuhaus, Max LISTEN Listening Score 1966.\u201d Listening Wall\u2014Goldsmiths<\/a><\/em>, 1 Jan. 1970.<\/p>\n\n\n\n

Haraway, Donna. Staying with the Trouble, Making Kin in the Chthulucene<\/em>. Duke UP, 2016.<\/p>\n\n\n\n

Holmertz, Elisabeth. \u201cThe Otherness of the Self: How to Curate a Seventeenth Century Opera and Sing All the Roles Yourself<\/a>.\u201d Norwegian Academy of Music<\/em>, 18 Sept. 2020. Sandblad, Frida Adler cited from conversation between Holmertz and Sandblad.<\/p>\n\n\n\n

Kassam, Ashifa. \u201cIs Jingle Bells Racist? Despite Backlash from the Right, It’s Not Black and White<\/a>.\u201d The Guardian<\/em>, 22 Dec. 2017.<\/p>\n\n\n\n

Kendrick, Lynne. Theatre Aurality. Palgrave Macmillan UK, 2017.<\/p>\n\n\n\n

Kownacki, Justin. \u201cWhy Representation Matters in Storytelling<\/a>.\u201d Justin Kownacki<\/em>, 2 June 2018.<\/p>\n\n\n\n

Lorde, Audre. \u201cThe Master\u2019s Tools Will Never Dismantle the Master\u2019s House\u201d; comments at \u201cThe Personal and the Political\u201d panel, Second Sex Conference, reproduced by Cherrie Moraga and Gloria Anzaldua (editors), This Bridge Called My Back, Kitchen Table Women of Color<\/em>. SUNY Press, 1981, pp. 98\u2013101.<\/p>\n\n\n\n

Madonna, et al. Material Girl, S.n.<\/p>\n\n\n\n

Neely, Adam. \u201cMusic Theory and White Supremacy<\/a>.\u201d YouTube<\/em>, uploaded by Adam Neely, 7 Sept. 2020.<\/p>\n\n\n\n

\u201cPauline Oliveros<\/a>.\u201d Pauline Oliveros Interview.<\/p>\n\n\n\n

Purcell, Henry, and John Dryden. \u201cWhat Power Art Thou.\u201d Z. 628 no. 20. 1691, from the incidental music to King Arthur or The British Worthy, no. 20, Act III (Cold Genius).<\/p>\n\n\n\n

Scannell, Joshua R. \u201cBoth a Cyborg and a Goddess: Deep Managerial Time and Informatic Governance.\u201d Object Oriented Feminism<\/em>, edited by Katherine Behar, U of Minnesota P, 2016, pp. 247\u201373.<\/p>\n\n\n\n

Schafer, Raymond Murray. A Sound Education 100 Exercises in Listening AND SOUND-MAKING.<\/em> Arcana Ed, 1992.<\/p>\n\n\n\n

\u201cA Song for Margrit.\u201d Anthology of Text Scores<\/em>, by Pauline Oliveros et al., Deep Listening Publications, 2013, pp. 27\u201329. The textscore is adapted by Electa Behrens.<\/p>\n\n\n\n

Sulla Lulla, Norwegian traditional lullaby.<\/p>\n\n\n\n

\u201cTori Amos Miscarriage<\/a>.\u201d YouTube<\/em>, uploaded by Dundee Mink, 19 June 2018.<\/p>\n\n\n\n

Tuhiwai Smith, Linda. Decolonizing Methodologies, Research and Indigenous Peoples<\/em>. Zed Books Ltd, 1999.<\/p>\n\n\n\n

Waldman, Katy. \u201cA Sociologist Examines the \u2018White Fragility\u2019 that Prevents White Americans from Confronting Racism<\/a>.\u201d The New Yorker<\/em>, 23 July 2018.<\/p>\n\n\n\n

\u201cWhy You Shouldn’t Touch Black Women\u2019s Hair<\/a>.\u201d YouTube<\/em>, uploaded by Aina Jackie, 11 Feb. 2020.<\/p>\n\n\n\n

Wang, Hong-Kai. \u201cBy Cathy Lane. Score for Everyday Tender Listening . . . Written for Iris Garrelfs Listening Wall at Supernormal 2017. PIC.TWITTER.COM\/DLEAMR19J4<\/a>.\u201d Twitter<\/em>, 29 Aug. 2017. <\/a><\/p>\n\n\n\n

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*<\/a>Electa Behrens<\/strong> <\/strong>(PhD) is program-responsible for the BA Acting at Norwegian Theatre Academy. She has performed with companies\/artists throughout Europe\/USA including Odin Teatret, Richard Schechner, Marina Abramovic and the CPR, and published in journals such as Theatre, Dance and Performance Training and Performance Research. Research areas: intercultural training, sonic and listening led dramaturgies, voice, darkness and performer agency in training. <\/a><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

**<\/a>\u00d8ystein Elle <\/strong>(PhD), associate professor at \u00d8stfold University College, is a multidisciplinary artist, singer and composer. Elle is a classically trained countertenor with a further specialization in extended vocal techniques. His research and performance spans, baroque, Dadaism, western avant-garde traditions and intercultural and transdisciplinary projects. He has toured over 30 productions to Europe, Asia and the Americas. In addition to art productions for a general audience, he has for the past 12 years been active as a creator, performer and researcher in art experiences and performances for the youngest children’s audience on which he is recently co-edited an anthology.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2021 Electa Behrens and \u00d8ystein Elle
Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n

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\"Creative<\/a><\/figure>\n<\/div>\n\n\n

This work is licensed under the
Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":806,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[7],"tags":[],"class_list":["post-326","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-topic"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/Cover-image-You-and-Me-C.S..jpg?fit=800%2C533&ssl=1","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":464,"url":"https:\/\/www.critical-stages.org\/24\/sounds-of-the-city-dramaturgy-space-identity\/","url_meta":{"origin":326,"position":0},"title":"Sounds of the City: Dramaturgy, Space, Identity","author":"Electa Behrens and \u00d8ystein Elle","date":"December 14, 2021","format":false,"excerpt":"Katie Beswick* and Javon Johnson** Abstract This article offers a response to the question, \u201cHow can we think about cities within the frame of a dramaturgy of sound?\u201d Drawing on our scholarly interest in cities, we, the authors, consider how city meanings are produced and transmitted through music cultures. We\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":599,"url":"https:\/\/www.critical-stages.org\/24\/aural-oral-dramaturgies-editors-introduction\/","url_meta":{"origin":326,"position":1},"title":"Aural\/Oral Dramaturgies: Editors\u2019 Introduction","author":"Electa Behrens and \u00d8ystein Elle","date":"December 18, 2021","format":false,"excerpt":"Photo: Giudi di Gesaro (Silvia Mercuriali\u2019s Swimming Home) Du\u0161ka Radosavljevi\u0107* and Flora Pitrolo** It is, perhaps, particularly suitable to our topic of dramaturgies of speech and sound that the process of putting together a special journal issue functions on the principle of call and response. In our Call for Papers\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/Silvia-Mercuriali-Swimming-Home-photo-credit-giudi-di-gesaro.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/Silvia-Mercuriali-Swimming-Home-photo-credit-giudi-di-gesaro.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/Silvia-Mercuriali-Swimming-Home-photo-credit-giudi-di-gesaro.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/Silvia-Mercuriali-Swimming-Home-photo-credit-giudi-di-gesaro.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":389,"url":"https:\/\/www.critical-stages.org\/24\/dramaturging-from-within-the-dramaturg-as-first-experiencer-in-immersive-audio\/","url_meta":{"origin":326,"position":2},"title":"Dramaturging from Within: The Dramaturg as First Experiencer in Immersive Audio","author":"Electa Behrens and \u00d8ystein Elle","date":"December 17, 2021","format":false,"excerpt":"Hanna Sl\u00e4ttne* Abstract This article focuses on the role of the dramaturg in the process of creating performances in which immersive audio is at the heart of the meaning-making, arguing that in immersive audio the dramaturg takes up a position of first experiencer, rather than first spectator, and that this\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image3-3.jpeg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image3-3.jpeg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image3-3.jpeg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image3-3.jpeg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":521,"url":"https:\/\/www.critical-stages.org\/24\/staged-installation-reported-speech-and-syndemic-images-in-blindness-and-caretaker-2020\/","url_meta":{"origin":326,"position":3},"title":"Staged Installation, Reported Speech, and Syndemic Images in Blindness and Caretaker (2020)","author":"Electa Behrens and \u00d8ystein Elle","date":"December 9, 2021","format":false,"excerpt":"Georgina Guy* Abstract This essay attends in detail to the\u00a0specific\u00a0verbal techniques used in the construction of two installation-based performances presented in London in 2020:\u00a0Blindness, a socially distanced\u00a0sound installation,\u00a0adapted by playwright Simon Stephens from Jos\u00e9 de Sousa Saramago\u2019s 1995 novel\u00a0Ensaio sobre a Cegueira,\u00a0staged at the Donmar Warehouse;\u00a0and Caretaker, a\u00a0durational installation by\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image2.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image2.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image2.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image2.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":474,"url":"https:\/\/www.critical-stages.org\/24\/embodying-the-extra-corporeal-releasing-the-voice-from-bodily-limitations-using-mediated-voice-in-singing-training\/","url_meta":{"origin":326,"position":4},"title":"Embodying the Extra-Corporeal: Releasing the Voice from Bodily Limitations Using Mediated Voice in Singing Training","author":"Electa Behrens and \u00d8ystein Elle","date":"December 16, 2021","format":false,"excerpt":"Shannon Holmes* Abstract Despite the advances in contemporary performer training, which resist a paradigm rooted in Cartesian dualism, an impediment that is evident in the way in which classical singing technique is widely taught remains in the thinking of voice as extra-corporeal. This project centres on uncovering the liminal spaces\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured-2.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured-2.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured-2.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured-2.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":90,"url":"https:\/\/www.critical-stages.org\/24\/devising-decolonizing-and-disrupting-america-musical-theatre-aural-anatomy-through-the-playlist-musical\/","url_meta":{"origin":326,"position":5},"title":"Devising, Decolonizing, and Disrupting American Musical Theatre Aural Anatomy Through the Playlist Musical","author":"Electa Behrens and \u00d8ystein Elle","date":"October 24, 2021","format":false,"excerpt":"Natalie Rine* Abstract Ethnographic perspectives on commercial musical theatre works in the United States invite us to view a show\u2019s\u00a0composition, and thus their exercise of power, as constituted by written and aural contributions of only one to a few creators. Yet, modern listening habits and popular music positionalities champion multi-composer\u2026","rel":"","context":"In "Essays"","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/24\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-2.jpeg?fit=800%2C478&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-2.jpeg?fit=800%2C478&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-2.jpeg?fit=800%2C478&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-2.jpeg?fit=800%2C478&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/comments?post=326"}],"version-history":[{"count":11,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/326\/revisions"}],"predecessor-version":[{"id":1033,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/326\/revisions\/1033"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/media\/806"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/media?parent=326"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/categories?post=326"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/tags?post=326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}