ABSTRACT
Vocal expression beyond words, such as the excess of speech production found in coughs, rhythm, intonation, humming, offer a mode of being that does not require the endorsement of the world through language, but rather favours the act of dwelling in sonority. I make use of creative and critical writing to evidence how my body listens in the auditorium. I consider Ant Hampton and Britt Hatzius’ This is Not My Voice Speaking (2011) and Nature Theater of Oklahoma’s Life and Times – Episodes 3 & 4 (2012). The decision to discuss these two pieces arises from an interest in how each makes use (albeit differently) of audio-based instructions and sounds outside of linguistic units. I focus on the respective deployment of disrupted rhythms and altered intonation of spoken language to question how performance and performative writing, might reveal and in turn cultivate our attention towards what is beyond the surface of our dialogical exchanges and vocal interactions. I put forward the idea of dwelling in sonority to extend the moment of perceptive encounter and endorse engagement with more elusive aspects of being.
ABSTRACT
In response to the Sewol Ferry disaster and mishandling of the South Korean government, Korean activists and artists mobilized collaboration with the victims’ families to produce activist theatre productions that center not only the trauma of those most affected by the disaster but also their lived experiences and wishes, especially those of the mothers. Furthermore, the performance community has come to include and represent the mothers not only as victims but as active participants whose grief is transmuted through performance into political activism. Combining tools of active viewing and participant observation, this article examines three of these works—Talking about Her (2016a) and VEGA (Jaguar 2016), which are performance pieces adapted from testimonies by the mothers, and Yellow Ribbon’s first performance, His and Her Closet (2016b). This article focuses on the ways these works, through utilizing the memories and testimonies of the mothers, have come to constitute a kind of collaborative public counter-memory against state cover-ups and unempathetic accounts, centering demands for change in commemoration practices and transforming the meaning of Sewol into a catalyst for political and social change.
ABSTRACT
Elder reflects - in three parts - on family and friendship, noting references and past/present connections to art, music, Mardi Gras, and sites of cultural heritage.
ABSTRACT
‘Summer Cannibals’ is a work of fiction, interspersed and illustrated with Izdihar Afyouni‘s paintings. It narrates an account of grief, rage, and violence.
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