In suggesting how theatre works to direct the audience's aural attention, the book also carries out an important enquiry into radio drama (Beckett's All That Fall, Embers, and Pinter's A Slight Ache). Such matters are examined as they have arisen in some of the most sophisticated works of theatre sound design of recent years, including Sound & Fury's Kursk, Romeo Castellucci's Purgatorio, Complicite's Shun-kin and Robert Lepage's Lipsynch. Focussing on four core aural phenomena in theatre - noise, designed sound, silence, and immersion - George Home-Cook concludes that theatrical listening involves paying attention to atmospheres. In redressing this, Theatre and Aural Attention investigates what it is to attend theatre by means of listening. The question of attention in theatre remains relatively unexplored. Drawing on Drew Leder’s theory of the absent body (1990), the article negotiates the concept of ‘participation’ as a case of ‘ecstasis’: a mode of embodiment where participants ‘stand out’ of themselves to become involved in a performance event where the physical performer has already escapedFocusing mainly on the lived experience of the audience’s bodily involvement in two of Janet Cardiff and George Bures Miller’s walks, Her Long Black Hair (2004) and Ghost Machine (2005), this article suggests that we identify spectatorial participation as a ‘chiasmic’ process, a shared experience in which the spectator confronts and is confronted by audiovisual material. (Cardiff 2004: Her Long Black Hair) This article explores the ontology of participation in performances where physical performers have been eliminated, leaving behind their mediat(iz)ed ‘traces’. Did you ever think about that? Our bodies are caught in the middle. One step after another, one foot moving into the future and one in the past.
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