Performance & Installations

Performance 1 - Lancashire clog dancing as early noise

THUR 23 14.30-16.00 | Performance Studio 1
Sarah Angliss and Caroline Radcliffe Facilitator: Paul Barker

Birmingham University’s Caroline Radcliffe has long held a passion for Lancashire clog dancing. With musician and evolutionary roboticist, Sarah Angliss, she will be presenting an exemplary performance of Lancashire clog dancing as early noise music – the industrial revolution's forerunner Kraftwerk's robotic pop or thrash metal.

Performances 2 - Body – Media – Space
Superfield [Mumbai]

THUR 23 14.30-16.00 | Performance Studio 2
Facilitator: Andy Lavender

Discovering the intermedial identity of the performer in an aural space, Falk Hubner's piece is a kind of playback performance on the borders of music, choreography and installation. The different medial layers of the performer's body – movement (the live body), sound (loudspeakers/electronics) and sculpture (video) – are used them as separate entities and elements in the performance. The performer is not allowed to make any sound at all during the performance – every sound is pre-recorded and comes out of four loudspeakers located in the stage space. The video contains shots and recordings from the performer's body and provides the light as it is projected directly on the live performer.

Craig Vear's Superfield is a sound theatre piece constructed from the various aural landscapes encountered on a recent trip to Mumbai – a living dream in hallucinogenic clarity.

Installations 1 - Meet the Artists

THUR 23 16.00 | Atrium
Rowena Easton, Gregg Fisher & Donato Wharton, Lise Marker

Installations 2 - Meet the Artists

THUR 23 16.00 | Object Studio
Chris Newell & Alistair Edwards, Dot Young

Installations 1 - The Atrium Soundblog Project

WED - THUR | Atrium
Gregg Fisher & Donato Wharton

The Atrium Soundblog Project aims to consider the noise of the Theatre Noise conference itself. Live recordings of conference proceedings, and from the three BlogPods stationed around the site, will be used as the compositional base for the ambient soundtrack of Theatre Noise itself, played back in The Central School of Speech and Drama atrium, and the Embassy Theatre entranceway.

Collected sounds will be digitally relayed to composers Gregg Fisher and Donato Wharton located at the Atrium Soundblog WorkStation. They will manipulate this digital data in real-time using hardware and software and then feed it back into the designated spaces. The two BlogPods, located in the hallway outside the Embassy Theatre and on the Ground Floor of the West Block, are designed to allow Theatre Noise participants easily to record their comments, observations, reactions – and noises – which will be collected as part of the project.

Installations 2 - Machines for Singing

WED - THUR | Experimental Lighting Studio
Rowena Easton, Mike Blow

Machines for Singing is an architectural sound installation which plugs in to a building to record the subsonic and supersonic life of its fabric. Real time audio streams are processed to create a symphony out of the dynamic interplay of environmental forces with structural elements, and experienced live as the building's own music.

By exploring our relationship with the places we inhabit, and transforming our experience of space, Machines for Singing invites us to think about the built environment in new ways.

The project was inspired by Embassy Court, the 1930s Brighton apartment block – designed in the international style by Wells Coates – where Easton lived. The block's advanced state of disrepair made her very aware of her environment, there was a heightened sense of the physical. Buildings are not static and she wanted to make audible that which we would not otherwise hear, and encourage people to experience the architecture around them as living structures.

Installations 3 - P.A.T.
(a telephonic computer voice actor)

WED - THUR | Object Studio
Chris Newell & Alistair Edwards

Place, Authenticity and Time (P.A.T.) is a framework for designers of computer voice actors. It addresses the notions of "the willing suspension of disbelief" (Coleridge, 1817), Liveness (Auslander, 1999) and The Uncanny Valley (Mori, 1970) in the context of computer synthesised voices. It reconfigures computer voices as actors within aural settings (audible back-stories) with unique expressive potential. It draws upon renaissance verse speaking and theories of spontaneous speech and opera. It offers an alternative to the predominant drive for realism in development of computerised speech solutions.

Just like human performers, computer voice actors are aurally embodied in time. Using simple techniques such as the manipulation of computer generated silences in the synthetic speech stream, we suggest that it may be possible to build an illusion of intelligent interaction that has liveness. In addition we claim that by adding an audible noise back-story, the character of the computer voice is enriched without the need for greater anthropomorphism. The audience would be able to test the credibility of these claims by experiencing the telephonic performance for themselves.

Installations 4
The Aurality of Objects: Residual Matter 1

WED - THUR | Studio 1
Dot Young

Residual Matter concerns itself with the tracking and preservation of the aural coming into being, or birth, of an object.

It explores the expended raw noise that is produced when making an object, which is not specifically acknowledged, captured, quantified or evaluated, and how this raw noise might affect our understanding of the object.

Working with Justin Bennett, digital sound artist in The Hague, the raw noises expended in the fabrication of the object have been chronologically collected for recycling. These creation sounds have been used to compose a birth symphony specific to that object.

The work asks: what if we could develop the ability to hear the creation noise of objects? How would this affect our understanding of them and the world around us?

Sensor Suit / Speaker Suit

Daniêl Ploeger

See Residencies 3

Installations 5 - The Sound Garden Social Space

WED - THUR | Sound Garden
CSSD students and guest artists

For Theatre Noise the conference bar has been transformed into the Sound Garden and Social Space, with set design by Lise Marker. It's a place for delegates to have a drink and socialise.

Many of the sound installation elements have been created by Central students.

These installation elements include SoundPods on which delgates can play keyboards that trigger a variety of sounds, PhonePods which are clusters of headphones enticing conferees with binaurally-recorded ambient soundscapes from Brighton Pier to Regents' Park; and SoundBoxes into which brave participants are invited to stick their heads and experience… something mysterious.

Visual projections onto the circular grand table are provided by visual artist Piotr Hektor Kowalski.


Heiner Goebbels

Sampler Suite (from Surrogate Cities); Songs of Wars I Have Seen

FRI 24 19.30 | Queen Elizabeth Hall, South Bank
The London Sinfonietta and the Orchestra of the Age of Enlightenment revive Heiner Goebbel's theatrical portrait of domestic life during World War Two. The work combines texts from Gertrude Stein (spoken by the female members of the ensemble), with type-writer like ostinati, a crackling electronic soundtrack and extracts from baroque composer Matthew Locke.
Book tickets.

Listening Room

WED - FRI | Room D
Examples of Performance Sound Design from around the World
Find out more in the Listening Room

Musical Interludes

WED 19.00 | Sound Garden and Atrium
The Runners Company
and Stephen Heath

We end Wednesday's proceedings in the Sound Garden, Theatre Noise's social space, with a reception and musical interludes.

Performing Polish polyphonic singing, we have third year students from the collaborative and devised theatre pathway of our BA in acting. Their devised production The Runners was inspired by Pushkin's poem Feast in Time of Plague and interwove text with traditional folk songs from Poland, Russia and Latvia. This project emerged from our ongoing relationship with The Grotowski Insititute in Wroclaw.

We will also be treated to a recital of the digeridoo performed by Stephen Heath.

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