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HU Credits:
2
Degree/Cycle:
1st degree (Bachelor)
Responsible Department:
Theatre Studies
Semester:
2nd Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Josef Sprinzak
Coordinator Office Hours:
mon 16:30 - 17:30
Teaching Staff:
Dr. Josef Sprinzak
Course/Module description:
A voice workshop focused on the spoken and recited word, based on the contemporary interdisciplinary practices of the last century that use voice and speech as medium and material. We will investigate the sonic characteristics of language and the possibilities of textual interpretation enabled through articulation.
The workshop will include a general introduction of vocal performance art and avant-garde performance that explores voice and language as part of the language of contemporary performance. The students will experience the intensity of the speech act through a series of exercises in voice, articulation, sound improvisation and composition. This heightened experience of listening and vocalization can inspire ideas of interpretation, dramaturgy and theatrical composition. The students will conduct personal research of a text (literary or non-literary), create and perform short vocal compositions based on speech scores.
In addition, students will write a short paper that reflects on the process of the show project.
Course/Module aims:
1.Experience vocal presentation of text for stage and explore the sonic characteristics of language.
2.Understand the possibilities of interpretation of text through use of articulation.
3.Introduction to works and concepts of interdisciplinary and avant-garde vocal performance art.
4. Ability to verbally conceptualize the vocal work with a text.
Learning outcomes - On successful completion of this module, students should be able to:
Create and perform short vocal compositions based on a personal investigation of literary or non-literary texts.
A reflective written paper on the creative process.
Attendance requirements(%):
Not more than 2 unapproved absences.
Teaching arrangement and method of instruction:
A practice based workshop with theoretical background and listening to works.
Course/Module Content:
1.Introduction: the use of voice and speech to explore cultural, political and aesthetical boundaries. Listening and viewing avant-garde and interdisciplinary works that use voice and speech in unconventional ways.
2.Voice as material: The bio mechanical apparatus of voice, ethnographical recordings demonstrating the wide range of vocal expression in human cultures.
3.Vocal production: attention to the body parts participating in vocal production, connecting between breath and resonance areas.
4.Phonemes and phonetic poetry: production, sonic characteristics and material for sound composition.
5.Articulation: on the level of word and phrase, speech scores and notation for articulation, musical parameters of speech – pitch, intonation, rhythm and speech – and their application in creating characters.
6.Vocal dramaturgy of text through understanding, punctuating and discovering directing cues in the text’s language and syntax.
7.Body language and face: controlling the shape of the mouth, facial expression, eye focus, hand gestures and body posture.
8.Composition and performance project: small ensemble works based on poetry, prose or non-literary texts applying the methods of the workshop.
Required Reading:
יוסף שפרינצק (2010), אמנות טקסט סאונד: דיבור עם הפרעות מקור וזמניות ביצירות קול (מערביות) אוונגרדיות ובין-מדיומאליות, מחקר דוקטורט, אוניברסיטת בן גוריון בנגב. פרק 1, עמ' 13-48.
Goldberg, RoseLee. (2001). Performance Art: From Futurism to the Present. Thames and Hudson: New York. Ch 1, pp.11-30, Ch 3, pp.50-74
Ladefoged, Peter(1993), A Course in Phonetics, Fort Worth, Tex. : Harcourt Brace Jovanovich College Publishers. Ch 1, pp. 1-15
Additional Reading Material:
Ihde, Don (2007), Listening and Voice: A Phenomenology of Sound, Albany: State University of New York Press.
Kahn, Douglas (1999), Noise, Water, Meat : A History of Sound in the Arts, Cambridge : The MIT Press
Melzer, Annabelle. (1994). Dada and Surrealist Performance. John Hopkins University Press: Baltimore and London.
Machlin, Evangeline (1992), Speech for the stage, Routledge: New York.
Ong, Walter (1981), The Presence of the word, Minneapolis: University of Minnesota Press
Shaffer, R. Murray (1977, 1994), The Soundscape, Destiny Books, Rochester Vermont
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 0 %
Participation in Tutorials 20 %
Project work 20 %
Assignments 15 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 45 %
presentation
Additional information:
Performance presentation of a vocal composition is obligatory and constitutes 45% of the workshop grade.
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