[EMS-NEWS]

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Date: 16 October 2008 10:32:33 +0100
From: CETT <[log in to unmask]>
To: [log in to unmask]
Subject: Call for papers -Theatre Noise conference



The Central School of Speech and Drama

University of London

Theatre Noise

An international conference

Wednesday 22 - Friday 24 April 2009

Keynote presenters include:

Professor Heiner Goebbels (composer and director, managing director of the
Institute for Applied Theatre Studies, Justus Liebig University, Giessen)

John Collins (artistic director of the New York-based theatre company
Elevator Repair Service, formerly sound designer with The Wooster Group)

Theatre Noise describes the acoustic environments and auditory phenomena of
theatre and performance. It is concerned, then, with that which is heard.
It addresses sound design and ‘undesigned’ noises, music for
performance and performance that is both ‘musical’ and ‘unmusical’,
voice production and vocal utterance (speaking, shouting, singing,
muttering). It proposes that theatre is that which is heard as well as that
which is watched – that the theatron is a listening place as well as a
seeing place.

Theatre Noise considers aurality. It asks how hearing and listening shape
our experience and perception of an event. It concentrates on theatre as a
subjective perceptual encounter. It addresses ways in which the noise of
theatre works on our senses, and how it positions us within a visceral
sphere of acoustic energy.

Theatre Noise is also interested in the inherent noise of the materials of
theatre and performance: the rasping of its voices, the sounds in its
environment, the interfering consciousness of ‘aural’ corporeal
presence within the noisy arena of theatre as a place.

While it proposes a characteristically aural model, Theatre Noise is not
confined to the auditory. It describes any atmospheric or environmental
distraction, any attention-grabbing dissonance, flaw or mistake, whether
sensory or imagined. It might concern any piece of residue or interference
that negatively defines theatre.

The conference features examples of innovative performance practices that
work in and through sound, music, voice and noise. It explores, through
keynotes and paper presentations, developments in thinking and practice in
sound design; music; the voice; the notion and presence of noise – all
with a bearing on theatre and performance. It develops ideas and principles
by way of a series of workshops. Round tables address key issues in the
field. Theatre Noise also features a playback room that includes
compositions and other aural contributions.

Proposals are invited that address the themes of the conference. The
precise meaning of the terms ‘Theatre’ and ‘Noise’ is open to
interpretation by contributors. Contributions may, for example, address
areas such as:
    • The noise theatre of the auditory environment
    • Acoustic ecology
    • The musicality of theatre
    • Non-linguistic voice
    • Sonic arrangements and/or imperfections that help create meaning
    • Aural encounters that constitute ‘place’
    • Noise as ‘other’ – the chaotic dark material that negatively
defines music, theatre, art, sound design

Proposals are invited for the following (please specify):
    • 20-minute paper presentation
    • 1-hour or 2-hour workshop
    • 3-day practitioner-residency with a work-in-progress outcome
    • Round table
    • Contribution to the playback room

Proposals should be 300 words in length, with a 150-word biography of the
key presenter(s). Proposals should be submitted to the conference
organisers at [log in to unmask] by 5 December 2008.




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Dr John Levack Drever
Lecturer in Music
Head of the Unit for Sound Practice Research
Goldsmiths, University of London

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