“In 1431 Joan of Arc was burned at the stake aged just 19 And you know, in this moment, we just can’t quite get past that.”
From its opening image to the final curtain Audiology holds its breath in an attempt to hear something of the truth. Why did billionaire tycoon Howard Hughes so fear being overheard? And what did her voices tell Joan of Arc that compelled her so into action?
She hears voices, he’s paranoid of being overheard –
And somewhere between these two positions Audiology unfolds.
Audiology explores sound and hearing in relation to truth and belief. The work is an attempt to investigate both social and medical information in order to examine how we hear what we hear. Performed by an international cast of five speaking English, French and British Sign Language an intense space is created and reshaped. Compounding this environment intimate edgy home made songs from Robert Pacitti intertwine with the epic orchestrations of Max Richters wonderful Memoryhouse recordings, performed by the BBC Philharmonic Orchestra. From slips of half-formed narrative barely sung to full-scale musical alert Audiology whips up an aural storm.
This is a work of many layers for you to peel apart. It binds theater, dance, sign language, composition, projection, attitude and style with fragments of history, backward talking, moments of deviance and headphones.
“An investigation into the source of creativity itself”
Carl Lavery – Live Art Magazine
- Artist Director– Robert Pacttti
- Research and Development– Robert Pacitti, Sheila Ghelani, Michael White
- Original soundwork – Robert Pacitti
- Assistant Director – Emma Wolukau- Wanambwa
- Administrator – Barbara Hougue
- Performers - Jeni Draper, Luis Gallo Mudarra, Michael White, Robert Pacitti, Sheila Ghelani, Valerie Renay
- Australian Performers (on video) - Jason Sweeney, Julie Vulcan, Kelli McCluskey
Performed at The Place, London; Forum Fries Theatre, Dusseldorf March 2003; Escena Contemporanea, Madrid February 2004; Alsager Arts Centre March 2004; Leeds Metropolitan University March 2004; Dartington Arts Studio March 2004; Powerhouse, Nottinham March 2004; Colchester Arts Centre April 2004; Contact, Manchester April 2004; Les Halles Theatre, Brussels November 2004 and Glasgay Festival, Tramway Glasgow November 2004
Funded by The Arts Council of England and London Arts Board