This paper unpacks the relationships between the human voice and sound technologies by re-reading and re-evaluating Roland Barthes seminal essay, ‘The Grain of the Voice’ an oft cited but frequently misunderstood text, in the light of Robert Lepage’s Lipsynch (Canada, 2012). This production explicitly uses analogue and digital sound technologies to reveal the complexities and contradictions operating within the sonic economy of the performance with particular reference to the way it uses digital dubbing, miming, voice-overs and lip-reading to unsettle assumptions about the connections between the language, speech and the human voice. The paper will also unsettle any simple understanding of the voice as the locus of identity, and uncover the manner in which sonic digital technologies enable us to better apprehend ‘the body in the voice as it sings, the hand as it writes, the limb as it performs’ (Barthes, 185) while remaining sceptical about the existence of a primordial, unconstructed body.
Field of Research
190404 Drama, Theatre and Performance Studies 1902 Film, Television And Digital Media 1904 Performing Arts And Creative Writing
Socio Economic Objective
950105 The Performing Arts (incl. Theatre and Dance)
HERDC Research category
C3 Non-refereed articles in a professional journal
Every reasonable effort has been made to ensure that permission has been obtained for items included in DRO. If you believe that your rights have been infringed by this repository, please contact email@example.com.