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A Whole Carnal Stereophony: The Wooster Group Stages Brecht

A Whole Carnal Stereophony: The Wooster Group Stages Brecht A Whole Carnal Stereophony The Wooster Group Stages Brecht W. B. Worthen writing aloud is not phonological but phonetic: its aim is not the clarity of messages, the theater of emotions; what it searches for (in a perspective of bliss) are the pulsional incidents, the language lined with flesh, a text where we can hear the grain of the throat, the patina of consonants, the voluptuousness of vowels, a whole carnal stereophony. —Régis Durand, “The Disposition of the Voice” lthough it’s commonplace to distinguish between live theatre and recorded media, recorded performance is everywhere on the contemporary stage. AMany productions use live-feed video during the performance, either to provide a simultaneously recorded and broadcast counterpoint to/within the live action, or sometimes—as in Gob Squad’s Revolution Now, first staged at Berlin’s Volksbühne in 2010—to collocate events, interviews, or performances outside the theatre with those happening inside. Staged film has been a prominent dimension of the visual field of theatre at least since the 1920s, and considerably more noted than another use of recording, sound. Recorded sound has been fully absorbed to the conventional apparatus of contemporary theatre: the sound designer devel- ops the production’s sonic texture with recorded sound, and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

A Whole Carnal Stereophony: The Wooster Group Stages Brecht

PAJ: A Journal of Performance and Art , Volume 44 (2): 12 – May 1, 2022

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Publisher
MIT Press
Copyright
© 2022 Performing Arts Journal, Inc.
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00607
Publisher site
See Article on Publisher Site

Abstract

A Whole Carnal Stereophony The Wooster Group Stages Brecht W. B. Worthen writing aloud is not phonological but phonetic: its aim is not the clarity of messages, the theater of emotions; what it searches for (in a perspective of bliss) are the pulsional incidents, the language lined with flesh, a text where we can hear the grain of the throat, the patina of consonants, the voluptuousness of vowels, a whole carnal stereophony. —Régis Durand, “The Disposition of the Voice” lthough it’s commonplace to distinguish between live theatre and recorded media, recorded performance is everywhere on the contemporary stage. AMany productions use live-feed video during the performance, either to provide a simultaneously recorded and broadcast counterpoint to/within the live action, or sometimes—as in Gob Squad’s Revolution Now, first staged at Berlin’s Volksbühne in 2010—to collocate events, interviews, or performances outside the theatre with those happening inside. Staged film has been a prominent dimension of the visual field of theatre at least since the 1920s, and considerably more noted than another use of recording, sound. Recorded sound has been fully absorbed to the conventional apparatus of contemporary theatre: the sound designer devel- ops the production’s sonic texture with recorded sound, and

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2022

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