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PSi #24 DAEGU [Proposal]



The (sounding) performance environment as a neocybernetic ecosystem


Introduction

Chapter 1: Post-dramatic sound and power dynamics in performance

Chapter 2: Performing systems

Chapter 3: Parallel intensities and temporalities explored further

Conclusion



ABSTRACT/PROPOSAL


“In devising [theatre] you are activating a system of energies in space.” (Etchells, post show Q&A following a performance of Real Magic, 2017)


This paper discusses emergences of sound within the post-dramatic ecosystem, and the interactions between the constructive elements of performance in this context. The writing focuses on the post-dramatic aesthetic; mapping some socio-political developments that have contributed to the birth of post-dramatic sound; using neocybernetics to analyse dynamics of structures and interconnected systems observable in contemporary theatre.

The first chapter Post-dramatic sound and power dynamics in performance introduces Lehmann’s ideas on post-dramatic theatre, and interpretations that have followed in relation to sound from academics and practitioners such as Brown, Curtin, Kostelanetz, Ovadija and Soidinsalo. The second chapter Performing systems explores Clarke and his research into the relationships between second-order systems theory and narrative. These ideas are then applied into the critical analysis of Another Bald Dead Woman performed at Spill Festival of Performance (UK) in 2016, Pixel Tears performed most recently at Camden People’s Theatre (UK) in 2017, and Broken Ecosystems: absurd meditations from around the world - a work in progress that explores anthropocentrism and post-digital absurdity of being.

The paper playfully speculates connections between post-dramatic sound, ecology and social systems, therefore justifying its use of neocybernetic theory to discuss the aforementioned interdisciplinary collaborations.