The body exists in space and time. It moves through cultural spaces and temporal rhythms. In the combination of instantiated actions and environmental conditions a context is created, this through embodiment. In this thesis I will attempt to link definitions of embodiment with the process of creating and performing new sound theatre works that involve live interaction with media technology. I will also examine terms such as inscription or incorporation and their application to processes of learning and memory within a particular context of inter-disciplinary skills. Finally, in the light of this genre, I will approach the problematic of analytical procedures that change the very parameters of embodied knowledge. The term sound theatre could be defined as a shift of play between music, image and text, incorporating elements such as gesture, choreography, audio and visual technology into a compositional dialogue. However this approach demands a re-examination of the spatial and temporal aspects involved in such inter-activity and their consequent relation to the performer. Taking the starting-point of sound and movement within the body of the performer, my research involves investigations into medial extensions of embodiment that have developed through a discourse with machines. This project takes an essentially practical basis for its research in the form of collaborations with musicians and practitioners of media technology towards a creative product. The result is a series of written compositions, each of which examines a different aspect of sound theatre. The valuable exchange that takes place during such a situation of experimentation becomes equally as important as the final product, providing much of the material framework for issues such as terminology and analytical procedures that concern my investigation.

The emergence and importance of human rights are rarely discussed without the discussion in some way also touching on the impact that various popular movements or social resistance have had on the manifestation of rights claims. This thesis focus in particular on the development in recent times in Afghanistan since the Taliban's takeover of power in August 2021. For the women and girls in Afghanistan the Taliban’s new power meant a return from 20 years of developed opportunities and recognized human rights, which can be directly derived to the rights and non-discrimination of women declared in the UN Women's Convention on the Elimination of All Forms of Discrimination against Women (CEDAW). This thesis will primarily deal with Amnesty International's report Death in Slow Motion: Women and girls under Taliban rule, which consists of a 100-page report, including testimonies, that describes the situation of women and girls in Afghanistan one year after the Taliban took gained power in August 2021. The analytical discussion of this thesis is based on a critical theoretical framework built on the concepts of performative practice, weapons of the weak, translation and ontological disturbance. The operationalization of the theoretical framework of this thesis is done with the help of a critical discourse analysis (CDA). The analytical discussion and conclusions of this thesis establish that Afghan women's and girls' current, every day or small-scale acts of resistance in order to assert their rights, demands for belonging, equality and freedom take varying forms and that these approaches move dynamically between the public and private spheres of society. In many ways, the resistance takes place beyond the Taliban's supervision and despite the risks that the acts of resistance entail, the actions of the Afghan women and girls contribute to manifesting and strengthening their rights claims and highlighting their capacity for agency and freedom of action. This thesis mainly highlights how these acts of resistance and agents can open up conditions for women and girls in Afghanistan to form communities and solidarity belonging within a social and political arena that has come to place them on the periphery.