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.

摘要

超越语言的声音表达，例如在咳嗽、节奏、语调、哼唱中发现的过度言语产生，提供了一种存在方式，不需要通过语言获得世界的认可，而是有利于居住在声音中的行为。我利用创造性和批判性的写作来证明我的身体在礼堂中如何倾听。我考虑 Ant Hampton 和 Britt Hatzius 的《这不是我的声音说话》 (2011) 和《俄克拉荷马州的生活与时代自然剧院 – 第 3 集和第 4 集》（2012）。讨论这两件作品的决定源于对每件作品如何使用（尽管不同）基于音频的指令和语言单元之外的声音的兴趣。我专注于破坏节奏和改变口语语调的各自部署，以质疑表演和表演性写作如何揭示并反过来培养我们对对话交流和声音互动表面之外的事物的注意力。我提出了居住在声音中的想法，以延长感知相遇的时刻，并支持与存在的更难以捉摸的方面进行接触。