Performing the Posthuman

Jasmijn van Wijnen

doi:10.5771/9783828877627

Summary

‘Performing the Posthuman’ is an investigation into reinvented representations, or re-presentations, of body–voice relationships in (musical) theatrical performances that can be called posthuman. Performance analyses lay bare the ways in which these body–voice relationships are used as strategies to theatrically image a posthuman condition. Combining new theories on posthumanism, new materialism and recent findings on the construction of voice, the study’s research dives into the ways in which both, the voice and the body, can be treated as floating signifiers in a mutual and mutable relationship. A close examination of the different ways in which what is posthuman is performed, exposes recurring tensions between modes of representation and presentation on stage.

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Bibliographic data

Publication year: 2021
Publication date: 29.11.2021
ISBN-Print: 978-3-8288-4680-7
ISBN-Online: 978-3-8288-7762-7
Publisher: Tectum, Baden-Baden
Series: AGent. New Theses in Performance Research
Volume: 10
Language: English
Pages: 114
Product type: Book Titles

Titelei/Inhaltsverzeichnis No access Pages I - X
1. The posthuman and new materialism No access
2. A new materialist approach: the voice No access
3. Chapter outline No access
1. 1. 1.1.1 The Internet of Things/Prometheus de Vuurbrenger No access
2. 1.2 The body-voice gap No access
3. 1.3 The thing and/as the body No access
4. 1. 1.4.1 The grain of the voice No access
  2. 1.4.2 Text to speech No access
  3. 1.4.3 When man and machine meet: the use of Auto Tune No access
5. 1.5 Breaking the illusion: from presentation to representation No access
6. 1.6 Conclusion: The Internet of Things No access
1. 1. 2.1.1 Death and the Powers No access
2. 1. 2.2.1 The chorus of Operabots No access
3. 1. 2.3.1 Body-voice relationship of a Disembodied Performance No access
4. 2.4 The System as cybernetic posthumanism No access
5. 2.5 Conclusion: Death and the Powers as postopera No access
1. 3.1 Introduction No access
2. 3.2 The ‘sincere’ objects of Kris Verdonck No access
3. 1. 3.3.1 The thing as body and sound as voice No access
4. 3.4 Conclusion: A new spectatorship No access
Conclusion. Performing the Posthuman No access Pages 97 - 106
Bibliography No access Pages 107 - 114

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