"Close Your Eyes and I'll Kiss You": The Role of Soundtracks in the Construction of Place
This paper seeks a way to uncover the role of aural experience in the affective and more effective construction of place. In the films of Tarkovsky, the ‘weak’ narrative, based on am biguity and improvisation, intentionally creates a distance between the image and the story in order to weaken the logic of the narrative, originating a field of associative images that arouses strong personal interpretations. The same may happen in a city by applying subtle acoustic strategies, suggesting to its users a new, more involved, attitude, so that they cease to be external elements and become participants, accepting a moral responsibility in the progression of events. This hypothesis is explored through the analysis of the relation between image and sound in Tarkovsky’s film Stalker (1979) and behaviour observations in two sonic interventions held in the cities of Lisbon (1999) and Guimaraes (2012).
What is the body’s capacity to communicate? How can spoken words be translated into choreography? McCormack offers a summary of the relationship between translation theory and choreographic practice. Focusing on how the term translation has been used in choreographic discourse, she explores how theories located in translation studies might be borrowed and re-appropriated in order to understand the relationship between movement and source text in verbatim dance-theatre. The chapter concludes with a case study of DV8 Physical Theatre’s verbatim dance-theatre performance work in order to ask if source text and choreographic translation can exist in a heteroglossic (Bakhtin 1981) relationship with each other on stage.