The synthesis/contexture, “SoundsTheater”, points to a translinguistic quality of human experience, somewhere beyond the linguistic definitions and historical boundaries which have fragmented human experience into isolated islands, concealing its natural unity beneath the waters of history. In a vague definition of ‘Theatre of Sounds,’ it can be said that it is neither a method nor a style, but an attitude, in which the temporality and spatiality and of sensory experience are of great importance. Imagine a language in which no word is repeated, and for defining or naming anything, or for expressing our states, emotions, and feelings, we use a word that has never been used before and will never be repeated afterwards. Therefore, in the course of the birth of an experience, we encounter the constituent elements not as ‘factors’ but as ‘dynamics’ that are something different each time and traverse a diverse spectrum of sensory perceptions. If we consider within an experience this characteristic of tempo-spatiality this aspect of not fitting into the category of one single sense (which is secluded mostly in the realm of theory), what seemed static and dead becomes alive and dynamic. Perhaps this characteristic of multisensory and fluid experience in the ‘Theatre of Sounds’ can also be found in this poetic statement by Rumi: “my words can be seen if your eyes become ears”.
Session 1
Introduction to the SoundsTheater project through an overview and discussion of previous experiences/ Exercises in synchronicity and coexistence/ Defining the system, subject, and examining the relationship between the two in achieving sensitivity and meaning/ Practice with SoundsTheater games as a confrontation with a system (a system of primary rules)/ Discovering the corporality of sound and sensitivity to the existential dimension of sound / Exercises for “hearing” and “non-hearing”/ Examining movement and stillness in the space of corporality-gained sounds / Sound as an object and systematic hearing / Subjectifying “Sound” as the moment of character-birth / Imagining self-awareness for sound (the moment of the beginning of theater from Boal’s perspective) / From sound to voice, an impossible journey / The sonic meaning of pain / Free workshop
Session 2:
“Beyond corporality” in sound, a fundamental concept for the possibility of the SoundTheater / Intonation: from primitive cry (outcry) to fascination with the impossible melodies of nature / Practice and brainstorming about individuals, personal experiences in sensitivity to intonation / Intonation systems and their connection to sound-producing objects (instruments, etc.) / Practice and brainstorming about the relationship between singing and subjective expression with intonation / Intonation: sensitivity and meaning / Imagining the sound of an ancient mythological instrument: logical (harmonic) relationships and actual embodied relationships, the existential dimensions of acoustic beating / Free workshop.
Session 3:
Unknown systems and new sensitivities / Culture as a porous system and the reality of multicultural events / Intonation exercises and listening to new intervals (microtonality) / cantus of darkness: confronting the “unknown monster” / Ending: sound gives thanks to subjects, or the predetermined destiny of a SoundsTheater / Free workshop / Coordination for the event.