VOICE / MOVEMENT — CONTROLLED DISJUNCTION

CENTRAL INSTRUCTION

WORKSHOP INSTRUCTION — RECORDED BY CLARISSE:

“Don’t let your voice be affected by your movement.”

SOURCE DISCREPANCY

The previous CPPM group map records:

“Your quality of movement shouldn’t be affected by your voice.”

SOURCE A: MOVEMENT SHOULD NOT ALTER THE VOICE.

SOURCE B: VOICE SHOULD NOT ALTER THE MOVEMENT.

Do not erase the discrepancy.

The broader synthesis is:

VOICE AND MOVEMENT ARE TRAINED AS INDEPENDENT BUT SIMULTANEOUS CHANNELS.

NOT AUTOMATIC ILLUSTRATION

The body was not required to illustrate text, reproduce its emotion, mime its content or become visibly governed by vocal tone. The voice was not required to reproduce physical exertion, become emotional because the body was under pressure or follow kinetic rhythm automatically.

PERFUME TEXTS

Clarisse records a task involving PERFUME TEXTS. The texts were comparatively light in subject matter but delivered through the same controlled vocal approach that Clarisse associated with political testimony in Can We Talk About This?

PROVENANCE: PARTICIPANT WORKSHOP MEMORY / CLARISSE’S DESCRIPTION

CLEAN VOICE

Clarisse describes the voice as steady, factual, unmodulated and “clean.” This is participant memory / Clarisse’s description, not universal DV8 terminology or a complete official technique.

PRODUCTIVE DISSONANCE

Body and voice may occupy different expressive or informational registers. Meaning can emerge through agreement, contradiction, pressure, delay, interruption, coexistence or indifference.

These are analytical possibilities, not a recovered list of Lloyd’s instructions.

CLARISSE’S FORMULATION

ANTI-SYNAESTHETIC DRAMATURGY describes a dramaturgy refusing automatic fusion between voice and body, sound and movement, thought and feeling, statement and spectacle.

PROVENANCE: CLARISSE — ANALYTICAL INTERPRETATION