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Benjamin Vandewalle and Yoann Durant label their performance Hear (2016) as an auditory choreography. Starting from an elaboration on the etymology of choreography I research what the auditory dimension adds and changes to choreography. Choreographing based on auditory decisions inverses sound and movement. This inversion has consequences from the process to the end result. Based on the sonic quality as main decision principle I unravel the creation process of Hear in seven main action: to stand, to walk, to breathe, to look, to move, to disappear and to sound. This division reveals how the actual choreographing doesn't stop at the end of the creation process. In the second half of the paper, I turn to the experience of an auditory choreography, where the body of the audience functions as a resonance box. The discomfort of a blindfold during the experience, leads to the installation of a delicate intimacy and reveals the close connection between sound, touch and movement. The precariousness of the installed intimacy triggers and enforces the audience imagination. Through my own experience of Hear I discover how the audience in an auditory choreography becomes a co-creator.
What does the notion of the dramaturg add to the position of the researcher? In this manifest I explore the position of the researcher-as-dramaturg as an opening up of methodology with strategies from different fields. I propose the researcher-as-dramaturg as a necessary re-evaluation of the process within the realm of academic research.O que é que a noção de dramaturga pode acrescentar à posição de investigadora? Neste manifesto, exploro o lugar da/o investigador/a-dramaturgo/a como uma abertura metodológica com estratégias de diferentes campos. Proponho a/o investigador/a-dramaturgo/a como reavaliação necessária dos processos no campo da investigação académica? Palavras-chaves:Investigador/a-dramaturgo/a. Intimidade. Som. Complexidência. Manifesto. Ouvir.• Phenomenology, however, does not start with a theory, or with a consideration of theories. It seeks to be critical and non-dogmatic, shunning metaphysical and theoretical prejudices, as much as possible. It seeks to be guided by what is actually experienced rather than by what we expect to find, given our theoretical commitments. It asks us not to let preconceived theories form our experience, but to let our experience inform and guide our theories. (Gallagher & Zahavi, The Phenomenologcial Mind, 11) "I enter the studio as a dramaturg by running away from the external eye. (…) I enter to find a new body.That is the most important task of the dance dramaturg -to constantly explore possible sensorial manifestos" (Lepecki, in Delanhunta, Dance Dramaturgy: speculations and reflections) EPAS 3x20" KASK Zwarte Zaal LEONIE PERSYN 297 x 420 mm Orange, Blue, Brown and Grey Seawings on Paper. The uncontrollable backside of sound. Bright and contrasting colours, strong lines Sounds resonate at the inside of a body, 132 LEONI PERSYN
The relation between sound and listening entails one of the most intriguing philosophical riddles: if a tree falls in the forest and no one is there to perceive it, does it still make a sound? The riddle is based on George Berkeley's (1685-1753) manuscript A Treatise Concerning the Principles of Human Knowledge (1710) and until now, no agreement on the answer has been reached. As people have debated the answer for over 300 years, it is definitely not the aim of this special issue of Documenta, een tijdschrift voor theater to solve this riddle. On the contrary -in one way or another, all contributors to this issue question the relationship between sound and listening. Their contributions originated in the context of the doctoral school Sound & Listening on the edge of music, performance, film and new media, a five-day platform that took place in May 2019.
In this article I wonder whether the non-breath in-between inhalation and exhalation and inherent to breathing equals what Hannah Arendt calls a space of appearance. Can the non-breath be considered as a place where human plurality and the self emerge (Arendt 2015, 160-163)? Or in other words, can a daily and habitual movement like breathing provide the space for action to appear? Can our breathing act? And if so, do we speak (up) through our breathing? Through listening to the breathing bodies in Grey (Kinga Jaczewska, 2018), Toute une nuit and Rendez-vous d’Anna (Chantal Akerman, 1982 1978) I search for answers to these questions.
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