Borrowing another voice or the Cyrano complex
The voices in Tina Howe’s theatre run the gamut of register, from inarticulate or animal sounds to impassioned monologues and quoted verse. This article focuses on one of the playwright’s greatest successes, Painting Churches (1983) in order to investigate the vocal identity of the text through the...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2013-06-01
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| Series: | Sillages Critiques |
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| Online Access: | https://journals.openedition.org/sillagescritiques/3059 |
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| author | Julie Vatain |
| author_facet | Julie Vatain |
| author_sort | Julie Vatain |
| collection | DOAJ |
| description | The voices in Tina Howe’s theatre run the gamut of register, from inarticulate or animal sounds to impassioned monologues and quoted verse. This article focuses on one of the playwright’s greatest successes, Painting Churches (1983) in order to investigate the vocal identity of the text through the alliance of screams, rants, everyday conversation, music and silence which makes up the dialogue. It then enquires into the processes implied in the translation of such a wide vocal range for foreign actors, questioning the relationship of the audience to the foreign and the familiar, and considering the paradigms of hiding and revealing one’s voice which are involved in writing, acting and translating a play. |
| format | Article |
| id | doaj-art-c386458d291540f192619b6c4e531865 |
| institution | Kabale University |
| issn | 1272-3819 1969-6302 |
| language | English |
| publishDate | 2013-06-01 |
| publisher | Centre de Recherche "Texte et Critique de Texte" |
| record_format | Article |
| series | Sillages Critiques |
| spelling | doaj-art-c386458d291540f192619b6c4e5318652025-01-30T13:46:50ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022013-06-011610.4000/sillagescritiques.3059Borrowing another voice or the Cyrano complexJulie VatainThe voices in Tina Howe’s theatre run the gamut of register, from inarticulate or animal sounds to impassioned monologues and quoted verse. This article focuses on one of the playwright’s greatest successes, Painting Churches (1983) in order to investigate the vocal identity of the text through the alliance of screams, rants, everyday conversation, music and silence which makes up the dialogue. It then enquires into the processes implied in the translation of such a wide vocal range for foreign actors, questioning the relationship of the audience to the foreign and the familiar, and considering the paradigms of hiding and revealing one’s voice which are involved in writing, acting and translating a play.https://journals.openedition.org/sillagescritiques/3059lyricismlaughterTina HoweAmerican comedyvoiceprintvoice range |
| spellingShingle | Julie Vatain Borrowing another voice or the Cyrano complex Sillages Critiques lyricism laughter Tina Howe American comedy voiceprint voice range |
| title | Borrowing another voice or the Cyrano complex |
| title_full | Borrowing another voice or the Cyrano complex |
| title_fullStr | Borrowing another voice or the Cyrano complex |
| title_full_unstemmed | Borrowing another voice or the Cyrano complex |
| title_short | Borrowing another voice or the Cyrano complex |
| title_sort | borrowing another voice or the cyrano complex |
| topic | lyricism laughter Tina Howe American comedy voiceprint voice range |
| url | https://journals.openedition.org/sillagescritiques/3059 |
| work_keys_str_mv | AT julievatain borrowinganothervoiceorthecyranocomplex |