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Call For Papers

 

№ 3 (40) 2020: Stage speech vs. public speech. The Oral Aspect of Actual Performative Culture.

Guest Editor

pict Julia LIDERMAN
Ph.D. (Candidate of Cultural Studies)
Senior Researcher, School of Actual Humanitarian Studies of the Russian Presidential Academy of National Economy and Public Administration, Moscow, Russia

Between 1990 and 2010 the number of theatrical events, where speaking was the central subject of performances, increased. Among these theatrical events were stand-ups, readings, discussions with participation of the audience. Is only Russian contemporary art subject to such changes in the preferences of the "live word", or is it possible to find similar trends in other cultures? various visible types of art experiments associated with high expectations from live speech, dialogue, spontaneous discussion, or sincere assurances. In the theater, there are discussions of various social problems, an exchange of revelations, an exchange of judgments, and the practice of acquittal or accusatory speeches addressed to historical events and historical figures. According to the theory of Erica Fischer-Lichte, performative spaces, voices, presence have changed traditional theater media. We can add to this that spoken language in art practices would be seen as a multimedia performance. "Stage speech" should be considered by the methods of the Humanities: linguistics, semiology, anthropology, public history, political science. Live-arts: performance art, happening, environmental art are problematic for researchers, since they refuse the critical distance necessary for analytical activity. Claire Bishop calls this effect a spectator policy, a new way of managing participants. As an object of study to the authors of this issue, we offer "stage speech" in live arts of the XX-XXI centuries. We hypothesize that changes in aesthetics have led to the fact that instead of a text for the theater, the researcher now faces the need to analyze the multimedia performance of “stage speech”. The purpose of this paper is to replenish the history of the experimental theater of the twentieth century, understood as a laboratory of public speech. We invite researchers of theater, drama, performance, activism, mass movements, global events to join the study of the acoustic, namely, speech aspect of the performative culture today.

Deadline for submissions: 30 Juny 2020

 

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