Published 04 December 2017
The project aims to communicate academic research on climate issues to non-academic audiences through performance. As part of the Pop-Up Research Lab project, Rosener’s research on Composed Theatre forms the underlying theatrical approach taken by Michelle St Anne, Artistic Director of the Living Room Theatre (LRT), who is applying the framework of Composed Theatre to create a theatrical work which communicates climate change research in LRT’s upcoming death series performances.
Composed Theatre as a practice combines musical composition and theatre and applies the compositional strategies traditionally of musical material, to materials used in the realm of theatre, such as movement, speech, actions, and lighting (Rebstock and Roesner, 2012, 20).
David Roesner is a leading academic in the field of Composed Theatre, and Roesner’s research and concepts of Composed Theatre have been instrumental in framing and theory of the emerging field. In addition to establishing new modes of thinking and theory, Roesner’s research tracks the historical development of forms of Composed Theatre, with a focus on the musical/ theatrical innovations by European theatre-makers the in the mid to late twentieth centuries and into the twenty-first century.
By incorporating Roesner’s research and approaches to Composed Theatre, there is hope of broadening academic discourse on climate change to engage the audience through the multi-modal “touchpoints” that the emerging field of Composed Theatre allows for.
Roesner joins LRT’s St Anne for the upcoming event ‘What Lola Heard: Theatrical Sounds from Climate Change.using the framework of Composed Theatre, the event itself will be part installation, part lecture, and part concert, and gives an insight into this creative process with lived examples meted out through recordings and live performance.
For more information and to register for What Lola Heard: Theatrical Sounds from Climate Change, click here.
Matthias Rebstock and David Roesner (eds.). 2012. Composed Theatre: Aesthetics, Practices, Processes. Bristol, UK & Chicago, USA: Intellect, The University of Chicago Press.
David Roesner is a Professor of Theatre and Music-Theatre at the LMU Munich. He previously worked at the Universities of Hildesheim, Exeter and Kent and as theatre musician and facilitator. In 2003 he published his first monograph on ‘Theatre as Music’ and later won the Thurnau Award for Music-Theatre Studies for his article “The politics of the polyphony of performance” in 2007. Recent publications include Theatre Noise. The Sound of Performance (with Lynne Kendrick, CSP, 2011), Composed Theatre. Aesthetics, Practices, Processes (with Matthias Rebstock, Intellect, 2012) and his latest monograph Musicality in Theatre. Music as Model, Method and Metaphor in Theatre-Making (Ashgate 2014). For a full list of publications and projects see: http://mhn.academia.edu/DavidRoesner