Dead voices and lost sounds: an imagined sonic history

Visualizações: 105

Autores/as

  • Adrienne Kapstein Pace University

DOI:

https://doi.org/10.33871/23179937.2021.9.2.10

Palabras clave:

sound art, installation, performance, participation, theater for all ages, theater, history

Resumen

A project description of a sound art installation and interactive performance presented as part of the Up Close Festival in New York City in the winter of 2019/2020. The article is authored by the creator and director of the piece, Adrienne Kapstein. Created for an all-age audience, the piece was a unique, relational and socially engaged experience that merged sound art, live performance, illusion, technology, and audience participation. Designed to be completed in partnership with members of the community it sought to serve, the piece invited participation from every audience member through multiple and varied means of engagement.


Link: https://youtube.com/playlist?list=PLXdYuKtwUhUrirWQ0B2X7XhfrBCGJVlGn

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Biografía del autor/a

Adrienne Kapstein, Pace University

Adrienne Kapstein is a collaborative theater-maker, director, and theater educator. She creates visually rich, physically adventurous new work and participatory performance experiences that exist across various mediums. Adrienne is interested in building community through the connection and interaction with public spaces and is passionate about bringing experimental work to audiences of all ages and sharing live art across generations. Her work has won multiple awards and has been presented in the U.S., Canada, Scotland, Ireland and Romania. Adrienne is an Associate Professor at Pace University and the head of the BA Acting/BA Directing International Performance Ensemble program. ORCID: https://orcid.org/0000-0003-0158-4733

Citas

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DIMEO, Nate, These Words Forever. Podcast The Memory Palace, Episode 12. Available at: https://thememorypalace.us/2009/06/episode-12-these-words-forever. Accessed: 01 Dec. 2021. Radiotopia, 2009.

ECKERT, Stephen. What is Immersive Theatre? Contemporary Performance, November 9, 2021. Available at: https://contemporaryperformance.com/2021/11/09/immersive-theater/. Accessed: 01 Dec. 2021.

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HILL, Sharon. Spooky Rocks. Skeptical Inquirer, Volume 27:3, January, 2017. Available at: https://skepticalinquirer.org/newsletter/spooky-rocks/. Accessed: 01 Dec. 2021.

KAPSTEIN, Adrienne; GOLDSTEIN, Thalia. Developing wonder: Teaching theatre for the very young through collaboration with developmental psychology. Youth Theatre Journal, 16 April 2019.

MACHON, Josephine. Immersive Theaters: Intimacy and Immediacy in Contemporary Performance. Basingstoke: Palgrave Macmillan, 2013.

MUIR, John, referenced at https://welikia.org/, WCS, 2008-2017.

MUSANTE, Peter. Up Close Festival 2019 Maker"™s Guide for commissioned artists. December 2018, with revisions September, 2019 (not published).

O"™TOOLE, John. Theatre in Education, New objectives for theatre - new techniques in education. Kent: Hodder and Stoughton, 1976.

PEARSON, Mike, SHANKS, Michael. Theatre/Archaeology. Routledge, 2001.

SHMIDT-CHAPMAN, Jonathan, Artistic Director; Trusty Sidekick Theater Company (2011-2016). Press Release for Up and Away, BroadwayWorld JR, Sept. 29, 2015. Available at: Broadwayworld.com

SHMIDT-CHAPMAN, Jonathan. Take a Closer Look, Inside the Up Close Festival of Immersive Theatre for Young Audiences. TYA/USA, Nov. 17, 2019. Available at: https://www.tyausa.org/tya-today/take-a-closer-look/. Accessed: 01 Dec. 2021.

VILLIERS DE I"™ISLE-ADAM, Auguste. Future Eve. Tradition Classics, November 23, 2012.

WALMSLEY, Ben, Co-Creating theatre: authentic engagement or inter-legitimation? Cultural Trends, Vol. 22, No. 2, p. 108–118. DOI: 10.1080/09548963.2013.783176

WESTERKAMP, Hildegard (interview). Ear Room by Mark Peter Wright. July 6, 2011. Available at: https://earroom.wordpress.com/2011/07/06/hildegard-westerkamp/. Accessed: 01 Dec. 2021.

WESTERKAMP, Hildegard. The Disruptive Nature of Listening. Keynote Address, at International Symposium on Electronic Art, Vancouver, B.C. Canada August 18, 2015. Available at: https://www.hildegardwesterkamp.ca/writings/writingsby/?post_ id=11&title=the-disruptive-nature-of-listening#:~:text=By%20its%20very%20nature%20 listening,is%20disruptive%20in%20its%20nature

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Publicado

2021-11-30

Cómo citar

Kapstein, A. (2021). Dead voices and lost sounds: an imagined sonic history. Revista Vórtex, 9(2), 10. https://doi.org/10.33871/23179937.2021.9.2.10

Número

Vol. 9 Núm. 2 (2021): Revista Vórtex

Sección

Dossier "Creative practices in Sound Art"

Licencia

Derechos de autor 2021 Adrienne Kapstein

Creative Commons License

Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.

Los autores conservan los derechos de autor y conceden a la revista el derecho de primera publicación, con el trabajo simultáneamente bajo la licencia Creative Commons Attribution Licence que permite compartir el trabajo con reconocimiento de autoría y publicación inicial en esta revista.

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