DSC_9164_edited.jpg

PROTOTYPE

INTRO

 

In this prototype I will investigate three techniques of detaching the voice from the body through a queer lens. Specifically focusing on Voiceover, Subtitles and Lip Syncing; I will utilise the operation of ambivalence within the writing of text and performative delivery to expose the void, the gap, the ‘no man’s land’ created when the voice is detached from the body and then theatrically re-layered. The operation of ambivalence is created through ambiguity which fused with my autobiography, creates a queer point of view within this performative prototype.  

SEMI-DETACHED 

VOICEOVER

 

It was important that the audience knew what my voice sounded like attached to my body, in order to experiment with detaching it. In the performance I ‘give’ my voice to the box. Then move as a lone body now voiceless. 

SUBTITLES

 

During the making of this prototype, I made a comparison to voice/body detachment and detachment of queerness from societal ‘norms’. When pressed to define societal norms, I merely defined norms of capitalism. This questioning around detachment and queerness became the catalyst for the subtitled text, leading to the realisation that queerness and detachment from my creative perspective is rooted in the operation of ambivalence.

LIP SYNCING

 

I lip synced to the song ‘Boys & Girls’ by Blur. To further highlight the detachment of voice from body in lip syncing and it subsequent theatrical re-embodiment, I also attempt to lip-sync to a video of my own face reading the text. I then show footage of myself lip-syncing to ‘Disco 2000’ by Pulp whilst my head is inside the box that I detached my voice from at the beginning of the prototype performance.

FEED FORWARD

 

This Prototype has helped discover what I find interesting within voice/body detachment.

I aim to start mapping out the vast field between Voiceover, Subtitles and Lip Syncing in order to discover if there are more techniques of body/voice detachment and whether these techniques could further develop research.

I aim to further look into Lip Syncing’s relationship with queer embodiment using Judith Butler’s performativity theory as a starting point.

I aim to dig deeper into the operation of ambivalence; its relationship to queer theory and its relationship to voice/body detachment.

THREADS

 

Brexit, Divorce, Britpop, Capitalism, ‘New Shapes’ by Charlie XCX, Queerness, decapitation, loneliness, Ambivalence, Aloofness, Ambiguity, Consciousness, Embodiment.

TEXT AS APPEARS IN PERFORMANCE

 

RYAN SPEAKING:

 

Hello, hello, hello, hello, hello

How’re you? How’re you? How’re You?

I’m alright, I’m alright yeah I’m alright thanks.

 yeah I’m good, yeah

It’s a bit like that bit where there’s like no connection

Or there’s a disconnect

Or like the WIFI has just suddenly

You know when the WIFI just cuts out

Now we’re back on

We’re cooking on gas, we’re there.

 

(Ryan walks away from the box but his voice continues)

 

There was once was this man, this boy

And he went swimming in a harbour

And another person saw him,

saw him swimming

saw his little head floating, bobbing in the water

and thought this would be great to direct ships

so the boy became a buoy

And the buoy was invented.

And I always  think about that every time I see a buoy

I think about the body, the body underneath.

 

 

SUBTITLES:

 

(Flashing) Norm 1: A job

Steady, good money, a career path, stability, Beers on Friday

Norm 2: A partner

Norm 3: Mortgage

Norm 4: I do

A nice ceremony, a lovely spread

Norm 5: Birth

Norm 6: Death

A nice ceremony, a lovely spread

 

And I now pronounce Brian and Deborah man and wife  

I baptise thee exPat, daughter of Brian and Deborah

Ashes to Ashes

They remember that time when Brian went swimming in the harbour on the south English coast  

On honeymoon

And he got caught in a rip-tide,

And You could just see his little head bobbing up and down in the water,

And he was fine… in the end

 

Capitalism is not the antithesis of queerness

Queerness is much more…

aloof

Yes, aloof

There is an ambivalence at play

That covers a vast ocean of sexual identity

and dancing,

and being an artist

and dancing

The ocean, the dancefloor, and I

We are the core of queerness

 

I don't know why I got a tendency to run away

Don't know why I'm always pushing for a sweet escape

Even though I feel so close

I just can't control how I feel

And I gotta be free

Need to breathe

But sometimes I need

All night

All day

We could fall in love in new shapes

New shapes

 

VOICEOVER (LIP SYNCED BY RYAN):

 

And recently I’ve been thinking about Britpop

And housing and loneliness and why

and feeling like I exist in two separate worlds

And this nostalgic optimism of Britain in the 90’s

and every morning I eat two chocolate croissants from Albert Hein

And maybe it’s just November But I’m feeling cold and out of sorts 

And I’d like it all to change

And love in the 90’s, It’s paradise, is paranoid

And now there is this pessimistic nationalism

And then there is this separation going on, this divorce, this detachment

And I’m really painting a white horse white now

As my friend Danny would tell me

Or painting a white horse, red and blue

And it feels impossible now I’m semi- detached from it

And we shouldn’t laugh, as it’s fucking dangerous

And it’ll only encourage him

But we can’t help laugh at the absurdity

And I should be enraged at such hollow metaphors

And that’s all I’m doing is displaying empty metaphors

And I keep scrolling through Grindr and Instagram

And the heart symbol is stitched into every thread of code

But just the outline

And I heart peoples selfies and nudes and comments

And I’m sad, drained and a little bit empty but of course I have to remain,

Remain, optimistic,

And I plug in my headphones

And I let Damon and Jarvis remind me

And I think I’ve become detached from what I set out to do here,

And I must mention the norms,

And  the hetro’s

And how I think I sit outside of their world

But I know that I don’t.

And I think about how awful it must be to be heteronormative

And the more I question it, the more lost I become

And I feel like I’m performing it,

Like it’s a performance

But I like performing,

And I know the future,

And I know that the future is queer and I’ve got a semi.

SPECIAL THANKS

 

Irina Baldini, Antti Uimonen, Danielle Gallia-Kind, Steef Kersbergen, Mike Witjes, João da Silva