Kriki in šepetanja: Vloga glasu v sodobni gledališki praksi

Maričić, Ivana (avtor), Pompe, Gregor (mentor), Dolar, Mladen (komentor)

S pomočjo psihoanalitične teorije glasu raziskujemo odnos med glasom in jezikom ter glasom in telesom. Zgodovino glasbe, ki ima za svoj ključni element glas, do 20. stoletja razumemo kot zgodovino napetosti med glasom in besedo, ki se na svojemu višku prelomi v krik. Krike in šepete v umetnosti z začetka 20. stoletja povezujemo z rojstvom psihoanalize iz histerije. Histerija je tudi stična točka med glasom, telesom in žensko pozicijo. K slednjemu pristopamo kot poziciji, lokusom spolne razlike, ki se kaže v glasbi ne kot poseben zvočni gradnik, temveč kot sama materija glasbe – glas. Zanima nas premik napetosti s polja glas-beseda na področje trenja med glasom in telesom – sicer zapisanim ženskim polom –, ki se kaže v sodobni postoperni umetnosti in praksi slovenske improvizatorke Irene Tomažin Zagoričnik.

• Jezik: Slovenski jezik
• Ključne besede: glas, jezik, telo, Michel van der Aa, Irena Tomažin Zagoričnik
• Vrsta gradiva: Magistrsko delo/naloga
• Organizacija: FF - Filozofska fakulteta
• Leto izida: 2021
• PID: 20.500.12556/RUL-130342
• Datum objave v RUL: 14.09.2021

MARIČIĆ, Ivana, 2021, Kriki in šepetanja: Vloga glasu v sodobni gledališki praksi [na spletu]. Magistrsko delo. [Dostopano 4 maj 2025]. Pridobljeno s: https://repozitorij.uni-lj.si/IzpisGradiva.php?lang=slv&id=130342

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Cries and whispers: The role of the voice in contemporary theatre practice

Izvleček

Psychoanalytic theory will help us explore the relationship between voice and language, and voice and body. We will present history of music (up to the 20th century) as a history of a tension between voice and language, which, at its peak, breaks into a scream. In early 20th century art luxuriats with screams and whispers, which are also associated with psychoanalysis, born from hysteria. The latter is also a junction between voice, body and female position, which we understand as a position of gender difference manifested in music not as a special sound element or structure, but as the very matter of music – the voice. We are interested in the shift of tension between voice and word to the field of friction between voice and body (with corporeality inscribed in female position), which is reflected in the contemporary postopera and practice of Slovenian improviser Irena Tomažin Zagoričnik.

• Ključne besede: voice, language, body, Michel van der Aa, Irena Tomažin Zagoričnik