The eavesdropper: Listening-in and overhearing the voice in performance

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

What is so compelling about the voice of a stranger? In lifts, trains, cafés and on the street, I casually strain to hear details of the lives of others. This may not necessarily be an intrusion (I couldn’t help but overhear … ), but it figures voice as borrowed, and easily – often unknowingly – lent. I have begun seeking out opportunities to eavesdrop, testing out which public places offer the best scope for listening while actively trying to draw the least attention to myself. I have started to have long conversations about what eavesdropping means and how it works. Eavesdropping might tell us something about how we listen more generally, and how we might think about voice in performance. Or maybe I just like listening in.

Original languageEnglish
Title of host publicationVoice Studies
Subtitle of host publicationCritical Approaches to Process, Performance and Experience
PublisherTaylor & Francis
Chapter14
Pages188-200
Number of pages13
ISBN (Electronic)9781317611028
ISBN (Print)9781138809345
DOIs
Publication statusPublished - 22 May 2015

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    Linsley, J. (2015). The eavesdropper: Listening-in and overhearing the voice in performance. In Voice Studies: Critical Approaches to Process, Performance and Experience (pp. 188-200). Taylor & Francis. https://doi.org/10.4324/9781315750064