Author: Richard Windeyer

digital music / design / performance

Saturday is ‘Sound Installation Day’ at FOOT 2017

imageUntil 6 pm today, come on by and explore audiovisual installation works by David Lieberman (Seminar Room), Katie Van Winkle and the Digital Dramaturgy Lab/DDL (Robert Gill Theatre lobby), Kendra Jones, Marcia Walker and Frank Incer in the Rehearsal Room.

Join us again tonight at 7 p.m. in the The Luella Massey Studio Theatre (4 Glen Morris Street) for the premiere of a new work by our keynote artist Brandon LaBelle, entitled The Church from Below. 

Admission is FREE


The Church from Below
Brandon LaBelle

Drawing upon histories of peace movements in East Germany, the work takes the form of a performative installation housed within a former Lutheran Church, now The Luella Massey Studio Theatre. It draws out questions of resistance and emancipatory practices, staging a set of materials, recordings and documents that act as a greater scenography of the hidden and the dispossessed. In particular, the work considers how “the underground” performs to nurture the formation of a parallel polis, one that enacts an overall art of survival. From such actions, particular discourses and cultural productions are generated, from illegal publishing to a lyrical poetics of secret messages. In the case of East Germany, peace workshops and environmental protests found support through a network of socially engaged churches, which acted to camouflage dissident work. What might such histories and productions suggest in terms of contemporary crises and the desires for a new social body? How might the art of survival provide a guide for an aesthetics aimed at redistributing the sensible?

Developed in collaboration with the artistic research project Synsmaskin, Bergen Academy.

Proudly presented at FOOT 2017 in collaboration with New Adventures in Sound Art.

Brandon LaBelle is an artist, writer and theorist working with sound culture, voice, and questions of agency. He develops and presents artistic projects and performances within a range of international contexts, often working collaboratively and in public. Recent works include “The Living School”, South London Gallery (2016), “The Stranger Seminar”, Liquid Architecture, Melbourne (2015), and “Second Culture Session”, Tel Aviv University (2015). He is the author of Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary (2014), Diary of an Imaginary Egyptian (2012), Acoustic Territories: Sound Culture and Everyday Life (2010), and Background Noise: Perspectives on Sound Art (2006). He lives in Berlin and is part of the Errant Sound collective.

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The countdown to FOOT 2017 begins!

Having said farewell to the year that was 2016, we are now exactly one month away from the start of FOOT 2017!

Here’s a look at the festival schedule thus far.

Our festival registration page is now open too, so let us know if you’re coming!

In the coming days we’ll be posting updates on the many artists and scholars who will be helping to sound the inner ear of performance.

Announcing our 2017 Keynote Artist — Brandon LaBelle

We are excited to announce that our festival’s Keynote Artist this year will be Brandon LaBelle.

Inspired by the history of our Luella Massey Studio Theatre, Brandon will create a new performance installation, entitled The Church from Below.

Brandon LaBelle is an artist, writer and theorist working with sound culture, voice, and questions of agency. He develops and presents artistic projects and performances within a range of international contexts, often working collaboratively and in public. Recent works include “The Living School”, South London Gallery (2016), “The Stranger Seminar”, Liquid Architecture, Melbourne (2015), and “Second Culture Session”, Tel Aviv University (2015). He is the author of Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary (2014), Diary of an Imaginary Egyptian (2012), Acoustic Territories: Sound Culture and Everyday Life (2010), and Background Noise: Perspectives on Sound Art (2006). He lives in Berlin and is part of the Errant Sound collective.


The Church from Below
Brandon LaBelle

Drawing upon histories of peace movements in East Germany, the work takes the form of a performative installation housed within a former Lutheran Church, now The Luella Massey Studio Theatre. It draws out questions of resistance and emancipatory practices, staging a set of materials, recordings and documents that act as a greater scenography of the hidden and the dispossessed. In particular, the work considers how “the underground” performs to nurture the formation of a parallel polis, one that enacts an overall art of survival. From such actions, particular discourses and cultural productions are generated, from illegal publishing to a lyrical poetics of secret messages. In the case of East Germany, peace workshops and environmental protests found support through a network of socially engaged churches, which acted to camouflage dissident work. What might such histories and productions suggest in terms of contemporary crises and the desires for a new social body? How might the art of survival provide a guide for an aesthetics aimed at redistributing the sensible?

Developed in collaboration with the artistic research project Synsmaskin, Bergen Academy.

Proudly presented at FOOT 2017 in collaboration with New Adventures in Sound Art.


FOOT 2017 Seeks Audio Papers/Audible Essays

This year, our Call For Papers, Performances, Presentations and Artistic Works includes an invitation to present work in the form of an ‘Audio Paper’ or ‘Audible Essay’.

So what’s in an ‘Audio Paper’?

Broadly speaking, an audio paper or audible essay contains the following features:

  • The critical exploration of a subject presented through spoken word but augmented and supported by the often intimate and evocative presence of other sounds, such as archival voice recordings, interviews, field recordings and sound effects.
  • An adherence to the essential components of written essays, such as a clear introduction, thesis statement, evidence-supported arguments, references, citations, and a concluding statement.
  • Presented as a pre-recorded (‘fixed’) stereo audio file played back either through loudspeakers or headphones and mobile listening devices. Alternatively, it can be a live speaking voice with pre-recorded audio excerpts (interviews, quotations, sound effects, ambiences, etc.), which are cued/triggered/layered in real time (similar to a live radio broadcast).

But there’s more…!

For a more detailed and provocative description of the format, we highly recommend reading AUDIO PAPERS — A MANIFESTO by Sanne Krogh Groth and Kristine Samsonorganizers of the Fluid Sounds 2015 ConferenceA selection of audio papers presented at Fluid Sounds 2015 may be auditioned here

So…

Should you find yourself compelled to submit a work in this format, please specify your intention to do as part of your 300-word proposal (see our CFP for details).

Please note: completed audio papers/essays presented at FOOT 2017 should not exceed 20 minutes in duration.

Please feel free to contact us with any questions you may have at foot.graddrama@utoronto.ca.

Call for Papers and Presentations

Call for Papers, Performances, Presentations and Artistic Works
Festival Of Original Theatre (FOOT)

Sounding The Inner Ear of Performance
February 2-5, 2017

The Centre for Drama, Theatre and Performance Studies,
University of Toronto

The 25th annual Festival of Original Theatre (FOOT) invites proposals to our 2017 conference entitled Sounding The Inner Ear of Performance — an interdisciplinary exploration of the history and evolution of sound and aurality in theatrical and performative cultures.

In recognition and celebration of both the festival’s 25th anniversary and the 50th anniversary of the Centre for Drama, Theatre and Performance Studies, FOOT 2017 invites proposals for papers, lecture-presentations, performances, installations, audio essays and workshops.

Possible topics include (but are not restricted to):

  • Listening, sound-making and performing bodies;
  • Issues of voice, gender, technology and politics in performance;
  • Explorations in voice acting and improvisation;
  • The acoustic and architectural spaces of performance;
  • Practices for addressing performers or audience members with disabilities;
  • Literary and/or dramaturgical approaches to sound (i.e.,‘writing for sound’);
  • The evolving interplay between ‘audience sound’ and ‘stage sound’;
  • Collaborative or participatory methodologies for producing and performing through sound;
  • Sound-centric investigations combining performance and cognitive science; 
  • Design/integration of sound with other elements, such as lighting, sets, costume, video;
  • The history and evolution of sound production technologies in theatre and performance;
  • The growing proliferation of wearable audio technologies (such as headphones, iPods, listening-assistance systems and in-ear monitoring) in theatre and performance culture;
  • Sound-making and listening in the evolution of performance genres and forms such as concert rituals, music-theatre, opera, radio, film sound, mobile audio guides, and web streaming; 
  • Sound design methodologies for immersive and interactive systems such as video games, sound installations, and virtual reality environments.

FOOT 2017 is especially interested in non-traditional proposals that blend art and academia, activism and criticism, theory and practice, as well as interdisciplinary research projects involving architecture, environmental studies, sound studies, ethnomusicology, gender and sexual diversity studies, cultural studies, cinema studies, applied theatre, education, dramatic and comparative literature, philosophy, knowledge media design, computing and information sciences, neuroscience, and health-related fields.

We are equally interested in staging original artistic works that engage with the conference theme. Interested artists are strongly encouraged to send a description of their artistic work along with an excerpt (if available), and necessary technical requirements (if applicable).

Application Deadline: October 1, 2016

Please send a 300-word paper proposal or description of your artistic work, as well as a short bio to: foot.graddrama@utoronto.ca.