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STUDIA UNIVERSITATIS BABEȘ-BOLYAI 2/2014 MIND BODY VOICE: WAYS OF THEATRICALITY STUDIA UNIVERSITATIS BABEŞ-BOLYAI DRAMATICA 2/2014 October STUDIA UNIVERSITATIS BABEŞ-BOLYAI DRAMATICA EDITOR-IN-CHIEF: ŞTEFANA POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca, Romania EDITORIAL BOARD: ION VARTIC, Babeş-Bolyai University, Cluj-Napoca, Romania LIVIU MALIŢA, Babeş-Bolyai University, Cluj-Napoca, Romania MIRUNA RUNCAN, Babeş-Bolyai University, Cluj-Napoca, Romania ANCA MĂNIUŢIU, Babeş-Bolyai University, Cluj-Napoca, Romania LAURA PAVEL, Babeş-Bolyai University, Cluj-Napoca, Romania VISKY ANDRÁS, Babeş-Bolyai University, Cluj-Napoca, Romania DORU POP, Babeş-Bolyai University, Cluj-Napoca, Romania ANDREA TOMPA, Babeş-Bolyai University, Cluj-Napoca, Romania PETER P. MÜLLER, University of Pécs, Hungary TOM SELLAR, Editor of Theatre Journal, Duke University Press, Yale University, USA IOAN POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca, Romania ANCA HAŢIEGAN, Babeş-Bolyai University, Cluj-Napoca, Romania INTERNATIONAL REFEREES: GEORGE BANU, Université Paris 3-Sorbonne Nouvelle DOMNICA RĂDULESCU, Washington and Lee University, USA JEAN-PIERRE SARRAZAC, Université Paris 3-Sorbonne Nouvelle GILLES DECLERCQ, Université Paris 3-Sorbonne Nouvelle MICHAEL PAGE, Calvin College, USA PATRIZIA LOMBARDO, Geneva University ISSUE EDITORS (2/2014): ANCA HAŢIEGAN and ŞTEFANA POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca, Romania SECRETARY OF THE EDITORIAL BOARD: IOAN POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca, Romania EDITORIAL OFFICE: 4th Kogălniceanu Street, Cluj-Napoca, RO, Phone: +40 264 590066, Web site: http://studia.ubbcluj.ro/serii/dramatica, Contact: [email protected] Cover Design: Lucia MĂRNEANU STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj-Napoca, Romania, Phone + 40 264 405352, [email protected] YEAR Volume 59 (LIX) 2014 MONTH OCTOBER ISSUE 2 Thematic issue Mind, Body, Voice: Ways of Theatricality CONTENT / SOMMAIRE STUDIES AND ARTICLES Marian POPESCU, Reflections on Sound, Voice and Attention ..................... 9 Filip ODANGIU, On the Actor’s Speech .......................................................... 17 Anca HAŢIEGAN, The Retrieval of Orality. Actors’ Experiences in Rehearsal ........................................................................................................ 27 Christofi CHRISTAKIS, S. Beckett et Voix en jeu scénique / S. Beckett and Voice in Performance ............................................................................ 47 Céline TORRENT, Le corps, medium-miroir entre la graphie du poème et la chorégraphie? Les lignes corporelles de Wilfride Piollet, entre poésie et danse / The Body, Medium-Mirror between Poetry’s Writing and Choreography? Body’s Lines of Wilfride Piollet, between Poetry and Dance ....................................................................................................... 59 Sorin CRIŞAN, Psychodrama and the utopian playing ................................. 79 Ozana BUDĂU TUNYAGI, The Psychological Mechanism of Trauma and Its Effects On Sarah Kane’s Experiential Theater ............................. 97 Alexandra SOFONEA, Mind and Body in Performance: Real or Fake Dualism? Performing Arts in the Last Century Correlated to the Main Philosophies of Mind ....................................................................... 111 Iuliu RAŢIU, Playing Genius and Performing Gender: How the Old Good Gertrude Stein Became the New Bad Gertrude Stein ................. 133 Eliza DEAC, Between Dismemberment and (Dis)embodiment: Defining (Hyper)text in Shelley Jackson’s Patchwork Girl ..................................... 147 CONTENTS OF STUDIA UBB DRAMATICA, LIX, 2, 2014 CREATION, INTERVIEWS, MISCELLANEA Laetitia CHAZOTTES, Neutralité de la diction dans la performance Une année sans une autre de Virginie Balabaud / Neutrality of Diction in the Performance A Year Without Another by Virginie Balabaud ................ 171 Delia ENYEDI, “My Mother, Irén Lengyel” ................................................... 177 Iulia URSA, Voice Rehabilitation and Voice Hygiene from a Phoniatrics Specialist’s Point of View ........................................................................... 187 Oana POCAN, Reflections on Body and Voice as Elements of Intercultural Dialogue in The King’s Speech ..................................................................... 195 PERFORMANCE AND BOOK REVIEWS Eugen WOHL, Secret Lives in The Valley of Astonishment ............................ 203 Alexandra FELSEGHI, Snap & XMM from YKM – Images of Reality ....... 209 Daria IOAN, Les mystères de la peinture et de la scène/ The Mysteries of Painting and Stage .................................................................................. 217 Ferencz CSUSZNER, A Leporello on Singing and Speech .......................... 221 Emese Rózsa SZÉMAN, The Art of Speech .................................................... 225 6 STUDIES AND ARTICLES STUDIA UBB DRAMATICA, LIX, 2, 2014, p. 9 - 16 (Recommended Citation) Reflections on Sound, Voice and Attention MARIAN POPESCU* Abstract: Sound, voice and attention are considered from both acknowledged artistic practices in theatre but also from a reflexive point of view about how the actors’ training might benefit from a reconsideration of own vocal experience. Issues such as the aural context in which theatre audiences live and the practical questions of getting their attention point to a necessary reconsideration of how actor’s training could restore a real sense of vocal experience of the body in our world. Keywords: voice, interpretation, aural context, sound, listening, speaking body, sign language, actor 1.“The Right to Speak” Whenever we refer to Voice in Theatre we usually mean by that more than one thing. Voice means Sound, Breath, Diction, Speak, and Communication skills. In everyday life Voice is instrumental in Communication and Speak but not in Breath and some Communication skills (non-verbal communication). We deal with voice in theatre from a technical point of view but less from a spiritual one. An actor on stage is concerned with his/her voice, its power to transmit, its qualities fit to the character played and less with commanding the attention to listen to it. If in everyday life we are judged when we open the mouth to speak, on stage we are appreciated to different degrees and levels when we open the mouth to voice the interpretation. In her seminal book, Patsy Rodenburg examines not only the practicalities of voice training for professionals but also the wide range of phenomena voice and sound display when using them in the context of theatre. She considers the close approach of both body and mind * Professor of Performance Studies and Communication at the University of Bucharest, E-mail: [email protected] .
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