The revocalization of logos? Thinking, doing and disseminating voice

PublishedArticleThis is the author accepted manuscript. The final version is available from Intellect via the DOI in this record.As a specific object of interest for philosophy, the human voice is grasped within a system of signification that subordinates speech to the concept. It is in the traditional dualism between the vocal/aural and the conceptual/seen that Cavarero postulates the de-vocalization of logos, the dichotomy between embodied phonation and critical enquiry. Her remarks invite further probing of the pedagogy and creative praxis of voice: how do we conceptualize voicing? How does voice emerge from and reflect back to its discursive domains? How can we bridge the chasm between the ontology and epistemology of voice? How do we think, do and disseminate voice? In reflecting on these concerns, our overall aspiration is to propose a new paradigm for practice as research (PaR) education in Voice Studies

Listening Across

This is the author accepted manuscript. The final version is available from Intellect via the DOI in this record

Verbatim practices, the acoustics of training, and giving voice: a voice studies afterthought

Blog articl

Voice: Forensics & Performance

This is the author accepted manuscript. The final version is available from Routledge via the ISBN in this recor

The always-not-yet / always-already of voice perception: training towards vocal presence

This is the author accepted manuscript. The final version is available from Routledge via the DOI in this record

Singing From Stones: Physiovocality and Gardzienice's Theatre of Musicality

This is the author accepted manuscript. The final version is available from OUP via the DOI in this record.Wlodzimierz Staniewski, director of the Polish Centre for Theatre Practices Gardzienice, considers directing as a praxis pertaining to the field of musical composition. His pieces have been theorised as either “ethno-oratoria” or “village operas,” while the pedagogy developed by the group is a territory for the exploration of the tensions between the physical and the vocal. Building on my recent fieldwork with the company, this chapter problematizes the separation of vocality and choreographic/movement practices in performer training and uses Gardzienice’s example as a case study in physiovocality. Meanwhile, the core principles of Staniewski’s work, namely mutuality, musicality and chorality, are analyzed as points of departure from music theaters towards a theater of musicality

What is Voice Studies? Konstantinos Thomaidis

This is an Accepted Manuscript of a contribution to a multi-authored chapter published by Routledge in Voice Studies: Critical Approaches to Process, Performance and Experience the 29th of June 2015.Available online: https://www.routledge.com/products/9781138809352Book chapter contributio

Rethinking Theatre Voices

This is the final version. Available from the publisher via the link in this recordKonstantinos Thomaidis reflects on the relationship between voice, speech, language and theatre

The vocal body

This is the author accepted manuscript. The final version is available from Triarchy Press via the link in this recordIn current understandings of voicing, especially in long-standing training formulae for actors and singers, the body is considered as a supporting mechanism. Good, healthy and aesthetically pleasing voice is produced when all the relevant body parts function efficiently. Still, this chapter asks: is the mechanistic paradigm the only option? Can we decisively map our physiology into apparatuses that contribute to sound-making and parts that resist participation in voice or stay unaffected by sounding? What are the consequences of such a paradigm for both the extra-daily and the everyday voicers? Drawing on my work as a movement specialist and director with experimental opera groups which seek to challenge the body-voice dichotomy (Experience Vocal Dance Company and Opera in Space) as well as my doctorate project on the physicality of the voice in vocal dance, post-Grotowskian practitioners and Korean pansori singers, I wish to share my observations on the possibilities of physiovocal unity. Using a practical session with my opera singers as a case study, I will attempt to foreground an integrative perspective, which moves beyond understandings of the body as a mere facilitator or homebase of vocal emission

Can it be you that I hear?

This is the author accepted manuscript. The final version is available from the publisher via the DOI in this record.Editoria