Memory and Sound, Voice and Archeology

Show notes

Many thanks for listening to Staging Sound!

Guests today are Dr Konstantinos Thomaidis, Dr Pieter Verstraete, Dr Anna R. Burzyńska and Dr. Julia H. Schröder

If you’d like to get in touch with the podcast, please email stagingsound@web.de

Here are some references in relation to our conversation: A) in relation to Konstantinos' research:

  1. The vocal in-between: For the notion of interstitial voice, please refer to Feldman (2015) and for Mladen Dolar’s Venn diagrams of the voice, check Dolar (2006). For the vocal in-between as the space of vocal co-production and the space emerging in this co-production, refer to Thomaidis (2020) and the closing chapter in Theatre & Voice (Thomaidis 2017). For the vocal in-between as methodology, refer to Thomaidis (2022).

  2. Ethno-oratorio: Konstantinos Thomaidis discusses the term ‘ethno-oratorio’ and how it applies to training and 'theatres of musicality' in the chapter “Singing from Stones: Physiovocality and Gardzienice’s Theater of Musicality” (Thomaidis 2014). The term was first coined by Polish critic Leszek Kolankiewicz and is quoted in Hodge (2010). There are several works on Gardzienice, but the latest collective publication is by Gontarski, Wisniewski and Kreglewska (2022).

  3. For Teatr Zar's production of Armine, Sister, please check the following links: http://teatrzar.pl/en/armine-sister-2/ https://teatrzar.pl/wp-content/uploads/2020/05/miroslaw-kocur-sing-to-remember-teatr-2-2014.pdf

  4. For the production of Ichneutai mentioned in the podcast, please check: https://aefestival.gr/festival_events/ichneytai/ The Greek terms Thomaidis uses for voice as all-encompassing (in the context of the play) are 'φθόγγος' and 'φθέγμα'.

  5. For Ochoa Gautier’s work on aurality in Colombia, see Ochoa Gautier (2014).

REFERENCES Dolar, Mladen (2006), A Voice and Nothing More, Cambridge, MA: MIT Press. Feldman, Martha (2015), Why Voice Now? Journal of the American Musicological Society, 68(3), pp. 653–85. Gontarski, S.E., Wisniewski, Tomasz and Kreglewska, Katarzyna (eds) (2022), Włodzimierz Staniewski and the Phenomenon of “Gardzienice”, London: Routledge. Hodge, Alison (2010), “Wlodzimierz Staniewski: Gardzienice and the Naturalised Actor,” in Alison Hodge (ed.) Actor Training, London: Routledge, pp. 268–87. Ochoa Gautier, Ana Maria (2014), Aurality: Listening and Knowledge in Nineteenth-Century Colombia, Durham: Duke University Press. Thomaidis, Konstantinos (2022), “Listening Back: Training as Vocal Archaeology”, Doctoral Plenary Day, Royal College of Music, London. Thomaidis, Konstantinos (2020), ‘Dramaturging the I-voicer in A Voice Is. A Voice Has. A Voice Does.: Methodologies of autobiophony’, Journal of Interdisciplinary Voice Studies, 5:1, pp. 81–106, https://intellectdiscover.com/content/journals/10.1386/jivs_00017_1# Thomaidis, Konstantinos (2017), Theatre & Voice, Palgrave Macmillan/Springer. Thomaidis, Konstantinos (2014), “Singing from Stones: Physiovocality and Gardzienice's Theatre of Musicality”, in Dominic Symonds and Millie Taylor (eds) Gestures of Music Theater: The Performativity of Song and Dance, Oxford, UK: Oxford University Press, pp. 242-58.

B) in relation to Pieter's research: A Kurdish Tosca (2019) Dengbej (narrator): Özcan Ateş Ali Tekbaş (Baron Scarpia) Gülseven Medar (Floria Tosca)

The production of this Tosca was done by Theater RAST: https://www.rast.nl/english/ and coproduced by Internationaal Theater Amsterdam, Amed Şehir Tiyatrosu, Teatra Jiyana Nû Director: Celil Toksöz Composer: Ardaşes Agoşyan Libretto in Kurmanji by Kawa Nemir

The recording was done by Jin TV: https://jintv.net/en/. But courtesy of Celil Toksöz and Ardaşes Agoşyan. More information on the edited volume Theatre, Performance and Commemoration can be found here: https://www.bloomsbury.com/uk/theatre-performance-and-commemoration-9781350306783/.

More links to books Pieter refers to in the talk: Anderson, B. (1991), Imagined Communities: Reflections on the Origin and Spread of Nationalism, London: Verso. https://www.worldcat.org/title/23356022. Halbwachs, M. (1980), The Collective Memory, trans. F.J. Ditter and V.Y. Ditter, New York: Harper & Row. https://www.worldcat.org/title/800628898. Small, C. (1998), Musicking: The Meanings of Performing and Listening, Hanover, NH: Wesleyan University Press. https://www.worldcat.org/title/767498404. Ünlü, B. (2016), ‘The Kurdish Struggle and the Crisis of the Turkishness Contract’, Philosophy and Social Criticism, 42(4–5): 397–405. https://www.worldcat.org/title/6027168524. Zerubavel, E. (1996), ‘Social Memories: Steps to a Sociology of the Past’, Qualitative Sociology 19.3: 283-300. https://www.worldcat.org/title/5655911283. For Barış Ünlü’s notion of the Turkishness contract, there is also an online article here: http://www.theauroraaustralis.net/turkishness-contract-and-turkish-left-baris-unlu/.

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