Sonic Rituals. Recording of Collaborative Performance Project on Mirgo (2014)
- Submitting institution
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Trinity Laban Conservatoire of Music and Dance
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- Harries1
- Type
- I - Performance
- Venue(s)
- UK (Café OTO, Servant Jazz Quarters, Iklectik, Rio Cinema Dalston, Courtyard Theatre, Apiary Gallery, Christchurch University, University of East London) as well as internationally (Japan December 2015 and Druskomanija Festival Lithuania).
- Open access status
- Out of scope for open access requirements
- Month of first performance
- February
- Year of first performance
- 2014
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The performance project Sonic Rituals, devised by the duo of Guy Harries and musician Yumi Hara Cawkwell, explores the value of adopting a dramaturgical framework for live musical performance with electroacoustic sound, drawing on the elements of ritual. Informed by a cross-disciplinary approach including: experimental theatre and performance studies (Schechner’s experimental theatre, Barba’s intercultural theatre, Peter Brook’s ‘Holy Theatre’, Artaud’s Theatre of Cruelty, Grotowski), cultural studies (with a focus on the history of the ‘sublime’) and psychoanalysis (the ‘uncanny’), the research aims to focus on electroacoustic performance from the relational aesthetics of the performed event. The elements of ritual (with reference to R. L. Grimes’s analytical framework) inform staging, structure, action and audience participation.
Live electroacoustic sound techniques were developed to serve the dramaturgical aspect of ritual as a structural framework for composition and includes: live processing of the voice as an identity-shifting ‘mask’; the tension between embodied and disembodied sound emphasising the invisible sublime; gesture-based sound connected with symbolic action; immersive sound diffusion redefining the performance venue as a space away from the mundane. These ideas were explored in depth in Harries’ peer-reviewed article in the journal Interference (2014) http://www.interferencejournal.org/evoking-the-sublime-absence-and-presence-in-live-electroacoustic-performance/, which is also submitted in hard copy to complete a multi-component output.
- Author contribution statement
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- Non-English
- No
- English abstract
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