Live electroacoustic performance juxtaposes and superimposes two main elements: the real, present and physical, against the simulated and disembodied. In this sense, it is a liminal form which negotiates two different worlds on stage. In this dissertation I will address some central aspects of performance that have been reshaped and problematised by the use of the electroacoustic medium in a live context. I will investigate in particular three main dualities: the performer's body/electroacoustic sound; physical space/electroacoustic space; and performance/audience. I will also discuss a generalised duality common to all three: presence/absence. Rather than regarding these dualities as indicators of discontinuity, I will suggest that they can help develop a continuum of connections and relationships between performance elements. These connections can be designed as part of the composition process. By investigating these dualities, this research addresses the main elements of the live event. The central guiding principle here is that the live electroacoustic mode is a performance discipline, and therefore requires a dramaturgical approach that takes into consideration the elements of the live event: performer, audience and use of space. I will suggest that such an approach should guide the creative process, starting at the initial composition stages, through rehearsal and the actual performance.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:550955 |
| Date | January 2011 |
| Creators | Harries, Guy |
| Publisher | City University London |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://openaccess.city.ac.uk/1118/ |
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