Key Words72-13, Body, Censored Voice, Chile, Choreography, Chorus, Codes For Masculinity, Collaboration, Concert, Contemporary Performance, Deconstruction, Disarticulation, Disruption, Electronic Music, Gender, Language, Metamorphoses, Multilingual Choir, Music Theatre, Narratives, Neoliberal Economies, Opera Of Rage, Oppression, Outcry, Overcoming With Art, Ovid, Patriarchy, Philomena, Play, Politics, Power And Privilege, Procne, Protest, Public Address, Rape, Reconstruction, Refusal, Repression, Repulsion, Resistance, Silenced, Sound Art, The State, Tongue, Transdisciplinary Performance, Transformation, Work in Progress,
Ovid’s account of Philomela’s rape and her severed tongue is the starting point for the exploration. How can she speak of the experience of being silenced, when her language is severed from her body?
The field of public address is an important symbolic arena where social norms are contested, reshaped and upheld, but mostly where we harbour gendered norms about speech. What we call “eloquence” in public speech is, essentially, a code for values associated with masculinity. The women on stage in this performance will function as a multilingual choir that deconstructs the sounds and stories of their voices, weaving their personal experiences of silencing and transformation with that of Philomela and her sister Procne.
Working half way between concert and play, music and theatre, sound and meaning, Eloquence will continue Manuela Infante’s collaboration with musician Diego Noguera and actress Marcela Salinas. Together with artists from Singapore, they explore electronic live processing and layering of voices to produce theatrical soundscapes and dispersed narratives about voices.
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Sandakan Threnody (June 2004)
The Continuum: Beyond The Killing Fields
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