Voice, body and the transmission of the real in documentary theatre

This article analyses how listening is used to develop performances in Alecky Blythe’s verbatim theatre. Listening includes Blythe’s use of recorded oral interviews for devising performances, and also the actors’ creation of performance by precisely imitating an interviewee’s voice. The article focuses on listening, speaking and embodiment in London Road, Blythe’s recent musical play at London’s National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard’s film The Arbor, a ‘quasi-documentary’ on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group’s Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe’s theatre, Barnard’s film and The Wooster Group’s performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe’s oral texts amid current debates around theatre’s textual practices.

Literal and extended use of kinship terms in documentary papryi

Kinship terms in papyrus letters do not always refer to actual relatives and so pose many problems for modern readers. But by examining all the kinship terms in six centuries of letters it is possible to discover some rules governing the use of kinship terms: in some situations they appear to be always literal, and in others they appear to be almost always extended, though a third group of contexts remains ambiguous. The rules are complex and depend on the particular kinship term involved, the date of writing, the use of names, the position of the kinship term in the letter, and the person to whom it connects the referent.

Youth/youth cultures

Youth is an embodied social construct attached to people who are too young to be classified as fully adult, and yet older than children. It is a term whose meaning is sociospatially specific and shifting. Youth and young people are often perceived as troubling to society, and the earliest studies of youth were tied to attempts to control unruly young people. Studies of youth cultures often utilized ethnographic research to explore the perspectives of young people. Early youth cultural studies inadvertently reproduced some dominant representations of youth, as male and troubling to society, by focusing upon subcultural groupings, such as Punks and Mods, and by excluding accounts of those other than white, heterosexual males. Recent studies have moved beyond these accounts to consider how youth cultures are porous, differentiated rather than holistic, connected to broader sociospatial processes, and can reproduce powerful social relationships, such as gender, along with teasing out how youth cultures are played out differently in various geographical contexts.

Post-phenomenology/post-phenomenological geographies

Post-phenomenological geographies are an emergent (and as yet relatively fragmentary) body of work. This work does not reflect a turn away from phenomenological theories; rather it reflects a critical engagement which rereads them through the post-structuralist theories of such authors as Deleuze, Derrida, and Levinas. This rereading, combined with a disciplinary context of a turn to practice and the ‘more than human’, has resulted in post-phenomenological geographies which extend the boundaries of the phenomenological focus upon the experiencing subject (in place). Thus, the interest is in the ways in which inhuman, nonhuman, and more-than-human forces contribute to processes of subject formation, place making, and inhabiting the world. These geographies have thus far been played out through critical explorations of the realms of the experiencing subject and landscape. This more-than-human focus has tested conventional human geographical methods, requiring innovative use of technologies such as video to document research, the use of experiential research methods, and also experimentation with the form of narrating these experiential methods.