mind body voice

228 Pages·2014·7.01 MB·English

STUDIA UNIVERSITATIS BABEȘ-BOLYAI 2/2014
MIND
BODY
VOICE:
WAYS OF THEATRICALITY
STUDIA
UNIVERSITATIS BABEŞ-BOLYAI
DRAMATICA

2/2014
October

STUDIA UNIVERSITATIS BABEŞ-BOLYAI
DRAMATICA
EDITOR-IN-CHIEF:
ŞTEFANA POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca, Romania
EDITORIAL BOARD:
ION VARTIC, Babeş-Bolyai University, Cluj-Napoca, Romania
LIVIU MALIŢA, Babeş-Bolyai University, Cluj-Napoca, Romania
MIRUNA RUNCAN, Babeş-Bolyai University, Cluj-Napoca, Romania
ANCA MĂNIUŢIU, Babeş-Bolyai University, Cluj-Napoca, Romania
LAURA PAVEL, Babeş-Bolyai University, Cluj-Napoca, Romania
VISKY ANDRÁS, Babeş-Bolyai University, Cluj-Napoca, Romania
DORU POP, Babeş-Bolyai University, Cluj-Napoca, Romania
ANDREA TOMPA, Babeş-Bolyai University, Cluj-Napoca, Romania
PETER P. MÜLLER, University of Pécs, Hungary
TOM SELLAR, Editor of Theatre Journal, Duke University Press, Yale University, USA
IOAN POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca, Romania
ANCA HAŢIEGAN, Babeş-Bolyai University, Cluj-Napoca, Romania
INTERNATIONAL REFEREES:
GEORGE BANU, Université Paris 3-Sorbonne Nouvelle
DOMNICA RĂDULESCU, Washington and Lee University, USA
JEAN-PIERRE SARRAZAC, Université Paris 3-Sorbonne Nouvelle
GILLES DECLERCQ, Université Paris 3-Sorbonne Nouvelle
MICHAEL PAGE, Calvin College, USA
PATRIZIA LOMBARDO, Geneva University
ISSUE EDITORS (2/2014):
ANCA HAŢIEGAN and ŞTEFANA POP-CURŞEU, Babeş-Bolyai University,
Cluj-Napoca, Romania
SECRETARY OF THE EDITORIAL BOARD:
IOAN POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca, Romania
EDITORIAL OFFICE: 4th Kogălniceanu Street, Cluj-Napoca, RO, Phone: [phone],
Web site: http://studia.ubbcluj.ro/serii/dramatica,
Contact: [email protected]
Cover Design: Lucia MĂRNEANU
STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj-Napoca, Romania,
Phone + 40 264 405352, [email protected]
YEAR Volume 59 (LIX) 2014
MONTH OCTOBER
ISSUE 2
Thematic issue
Mind, Body, Voice: Ways of Theatricality
CONTENT / SOMMAIRE
STUDIES AND ARTICLES
Marian POPESCU, Reflections on Sound, Voice and Attention ..................... 9
Filip ODANGIU, On the Actor’s Speech .......................................................... 17
Anca HAŢIEGAN, The Retrieval of Orality. Actors’ Experiences in
Rehearsal ........................................................................................................ 27
Christofi CHRISTAKIS, S. Beckett et Voix en jeu scénique / S. Beckett
and Voice in Performance ............................................................................ 47
Céline TORRENT, Le corps, medium-miroir entre la graphie du poème
et la chorégraphie? Les lignes corporelles de Wilfride Piollet, entre
poésie et danse / The Body, Medium-Mirror between Poetry’s Writing
and Choreography? Body’s Lines of Wilfride Piollet, between Poetry
and Dance ....................................................................................................... 59
Sorin CRIŞAN, Psychodrama and the utopian playing ................................. 79
Ozana BUDĂU TUNYAGI, The Psychological Mechanism of Trauma
and Its Effects On Sarah Kane’s Experiential Theater ............................. 97
Alexandra SOFONEA, Mind and Body in Performance: Real or Fake
Dualism? Performing Arts in the Last Century Correlated to the
Main Philosophies of Mind ....................................................................... 111
Iuliu RAŢIU, Playing Genius and Performing Gender: How the Old
Good Gertrude Stein Became the New Bad Gertrude Stein ................. 133
Eliza DEAC, Between Dismemberment and (Dis)embodiment: Defining
(Hyper)text in Shelley Jackson’s Patchwork Girl ..................................... 147
CONTENTS OF STUDIA UBB DRAMATICA, LIX, 2, 2014
CREATION, INTERVIEWS, MISCELLANEA
Laetitia CHAZOTTES, Neutralité de la diction dans la performance Une
année sans une autre de Virginie Balabaud / Neutrality of Diction in
the Performance A Year Without Another by Virginie Balabaud ................ 171
Delia ENYEDI, “My Mother, Irén Lengyel” ................................................... 177
Iulia URSA, Voice Rehabilitation and Voice Hygiene from a Phoniatrics
Specialist’s Point of View ........................................................................... 187
Oana POCAN, Reflections on Body and Voice as Elements of Intercultural
Dialogue in The King’s Speech ..................................................................... 195
PERFORMANCE AND BOOK REVIEWS
Eugen WOHL, Secret Lives in The Valley of Astonishment ............................ 203
Alexandra FELSEGHI, Snap & XMM from YKM – Images of Reality ....... 209
Daria IOAN, Les mystères de la peinture et de la scène/ The Mysteries
of Painting and Stage .................................................................................. 217
Ferencz CSUSZNER, A Leporello on Singing and Speech .......................... 221
Emese Rózsa SZÉMAN, The Art of Speech .................................................... 225
6
STUDIES AND ARTICLES

STUDIA UBB DRAMATICA, LIX, 2, 2014, p. 9 - 16
(Recommended Citation)
Reflections on Sound, Voice and Attention
MARIAN POPESCU*
Abstract: Sound, voice and attention are considered from both acknowledged
artistic practices in theatre but also from a reflexive point of view about how the
actors’ training might benefit from a reconsideration of own vocal experience.
Issues such as the aural context in which theatre audiences live and the practical
questions of getting their attention point to a necessary reconsideration of how
actor’s training could restore a real sense of vocal experience of the body in
our world.
Keywords: voice, interpretation, aural context, sound, listening, speaking body,
sign language, actor
1.“The Right to Speak”
Whenever we refer to Voice in Theatre we usually mean by that more
than one thing. Voice means Sound, Breath, Diction, Speak, and
Communication skills. In everyday life Voice is instrumental in
Communication and Speak but not in Breath and some Communication
skills (non-verbal communication). We deal with voice in theatre from a
technical point of view but less from a spiritual one. An actor on stage is
concerned with his/her voice, its power to transmit, its qualities fit to the
character played and less with commanding the attention to listen to it. If in
everyday life we are judged when we open the mouth to speak, on stage we
are appreciated to different degrees and levels when we open the mouth to
voice the interpretation. In her seminal book, Patsy Rodenburg examines not
only the practicalities of voice training for professionals but also the wide
range of phenomena voice and sound display when using them in the
context of theatre. She considers the close approach of both body and mind
* Professor of Performance Studies and Communication at the University of Bucharest, E-mail:
[email protected] .