Acoustic interculturalism : the performativity of sound and hermeneutic of listening in / to intercultural performance
Citation:
Marcus Cheng Chye Tan, 'Acoustic interculturalism : the performativity of sound and hermeneutic of listening in / to intercultural performance', [thesis], Trinity College (Dublin, Ireland). Department of Drama, 2010, pp 283Download Item:
Abstract:
Studies of intercultural performance have been very much concerned with the politics of cultural practice, the authority of cultural traditions, the location of culture(s) in the interstices of exchange, and the theorising of cultural transactions on the stage. Critical studies and performance analyses have focussed largely on the mise en scene, the visual texts, and the visuality of the intercultural disregarding, consequently, the importance of sound and music in generating performance meaning. Little has been done to critically examine the role sound and music play in performance, and the ways in which an aural experience and an awareness of the interchanges in form (musical instruments) and style (performance traditions), can serve to illuminate what is oftentimes regarded as a confusing hybrid of cultures presented on stage. This thesis thus seeks to capitalise on this need for a listening to the sounds of interculturalism and wishes to examine a reception aesthetics employing acoustemological (the study of sound environments) and akoumenological (a phenomenology of listening) frameworks of analysis. As cases in point, the thesis will examine the soundscapes, and the performativity of sound, in various 'models’ of intercultural theatre in particular those by Ariane Mnouchkine, Ong Keng Sen, Lin Zhaohua and Yukio Ningawa.
Author: Tan, Marcus Cheng Chye
Advisor:
Singleton, BrianQualification name:
Doctor of Philosophy (Ph.D.)Publisher:
Trinity College (Dublin, Ireland). Department of DramaNote:
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Drama, Ph.D., Ph.D. Trinity College DublinMetadata
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