| Both sides previous revisionPrevious revisionNext revision | Previous revisionLast revisionBoth sides next revision |
| start [2022/12/28 11:23] – [ECHO Project] admin | start [2022/12/28 11:56] – [ECHO Project] admin |
|---|
| EVAA is supported in part by the [[http://www.collegium.musicae.sorbonne-universite.fr/fr/index.html|Collegium Musicae]] Institute, Sorbonne Université. | EVAA is supported in part by the [[http://www.collegium.musicae.sorbonne-universite.fr/fr/index.html|Collegium Musicae]] Institute, Sorbonne Université. |
| {{ :csm_logo_collegiummusicae_rvb_112b05da6c.png?100|}} | {{ :csm_logo_collegiummusicae_rvb_112b05da6c.png?100|}} |
| | |
| | ---- |
| |
| ===== Collection of projects ===== | ===== Collection of projects ===== |
| |
| ==== ECHO Project ==== | ==== ECHO Project ==== |
| ECHO was a French ANR funded interdisciplinary project [[https://anr.fr/Projet-ANR-13-CULT-0004|(ANR-13-CULT-0004)]], 12/2013--06/2017. {{ :echo:echo-anr-logo.png?200|}} | |
| | {{ :echo:echo-anr-logo.png?200|}} ECHO is a collaborative research project. Partners in the project include researchers from a wide range of disciplines : theatre professionals trained in history, anthropology, architecture, literature, music and aesthetics, researchers in sociology and philosophy, curators specialized in theatre and audiovisual, sound engineers and acousticians specializing in room acoustic simulations. ECHO is a French ANR-funded project [[https://anr.fr/Projet-ANR-13-CULT-0004|(ANR-13-CULT-0004)]], 12/2013--06/2017. |
| | |
| | * [[https://www.thalim.cnrs.fr/|THALIM-CNRS]], équipe ARIAS (Atelier de recherche sur l'intermédialité et les arts du spectacle) |
| | * [[https://www.bnf.fr/fr/departement-des-arts-du-spectacle|BnF (Bibliothèque nationale de France), département des Arts du spectacle]] |
| | * LIMSI-CNRS, groupe Audio & Acoustique (now part of [[http://www.lam.jussieu.fr/|LAM, d'Alembert, Sorbonne University]]). |
| | * CRIalt, Montréal [[http://crialt-intermedialite.org/eng|Centre de recherche intermédiale sur les arts, les lettres et les techniques]] |
| | * Universiteit van Amsterdam, [[http://www.uva.nl/disciplines/theaterwetenschap|Theaterwetenschap (UvA)]] et [[http://www.uva.nl/over-de-uva/organisatie/faculteiten/content/faculteit-der-geesteswetenschappen/faculteit-der-geesteswetenschappen.html|Faculteit der Geesteswetenschappen, Capaciteitsgroep Media & Cultuur (UvA)]] |
| |
| ECHO was born out of the idea that the study of Western theatre, despite its vocal, sound, and acoustic aspects, was no exception to the overvaluation of the visual. The research prolonged an initial project titled “Theatre Sound (19th - 21st centuries)” with a refocusing on three aspects: on France, on the second half of the 20th century, and on the spoken voice. The ECHO project approached theatre as a space organised by and for the spoken voice, thus returning to the commonly accepted definition by modern acousticians of the theatrical space (end of the 19th - beginning of the 20th), which seemed to be less suitable: technologies (from microphones to tape recorders) had transformed the sound of the theatre; significantly, the relation to the text, to the verbal, to the language (here, the French language) had experienced major transformations. Based on the hypothesis that, in the vital domain of language, transformation does not denote disappearance, the team explored how artists and technicians, from post-World War II to the end of the 1990s, have renewed the conditions and forms of the stage spoken word and its listening. In doing so, ECHO has allowed the reintegration of the theatre, an art which has contributed to structure Western society, within today’s crucial reflections on our relationship to the art of practicing (listening, reading, memorising, vocalising – singing) a written or elaborated language. | ECHO was born out of the idea that the study of Western theatre, despite its vocal, sound, and acoustic aspects, was no exception to the overvaluation of the visual. The research prolonged an initial project titled “Theatre Sound (19th - 21st centuries)” with a refocusing on three aspects: on France, on the second half of the 20th century, and on the spoken voice. The ECHO project approached theatre as a space organised by and for the spoken voice, thus returning to the commonly accepted definition by modern acousticians of the theatrical space (end of the 19th - beginning of the 20th), which seemed to be less suitable: technologies (from microphones to tape recorders) had transformed the sound of the theatre; significantly, the relation to the text, to the verbal, to the language (here, the French language) had experienced major transformations. Based on the hypothesis that, in the vital domain of language, transformation does not denote disappearance, the team explored how artists and technicians, from post-World War II to the end of the 1990s, have renewed the conditions and forms of the stage spoken word and its listening. In doing so, ECHO has allowed the reintegration of the theatre, an art which has contributed to structure Western society, within today’s crucial reflections on our relationship to the art of practicing (listening, reading, memorising, vocalising – singing) a written or elaborated language. |
| The ECHO project was the principal support through which the [[https://evaa.lam.jussieu.fr/doku.php?id=start#ghost_orchestra|Ghost Orchestra]] and [[https://evaa.lam.jussieu.fr/doku.php#cloud_theatre|Cloud Theatre]] projects were carried. | The ECHO project was the principal support through which the [[https://evaa.lam.jussieu.fr/doku.php?id=start#ghost_orchestra|Ghost Orchestra]] and [[https://evaa.lam.jussieu.fr/doku.php#cloud_theatre|Cloud Theatre]] projects were carried. |
| |
| Additional information is available here on the [[ECHOproject|ECHO project]]. | Additional information is available here : [[ECHOproject|ECHO project]]. |
| |
| ---- | ---- |
