Projects

CURRENT PROJECTS

European Networks for Performing Artists in Exile and Activism

The project centres around recent developments, networks and policy changes regarding inter-, cross-, and trans-cultural theatre, including post-colonial theatre approaches, and specifically their contribution to socio-cultural issues like democracy, injustice, freedom of speech, conviviality, and insurgency in the wake of Real Democracy and Occupy Movements, particularly the 2013 Gezi Park protests in Turkey. It looks at the work of Turkish and Kurdish artists ‘at risk’ who collaborate with European ensembles and who work against censorship practices in Turkey.

The project started with a debate with Kurdish/Dutch theatre director Celil Toksöz (Theater RAST) as part of the ‘Humorous Approaches to Art and Activism in Conflict‘ Project, on invitation of Dr. Sruti Bala, 24 April 2014 (4-6pm) at the University Theatre of the University of Amsterdam, under the title ‘Post-Migrant Turkish Theatre and Activism: A Discussion on Turkey’s Cultural Transformation, Post-Migration in Europe and the Kurdish Struggle at the Margins of In-Between’.

I was invited twice to talk about progress of this research within the ‘Performance & Politics & Protest‘ Project of Dr. Róisín O’Gorman at the University College Cork (UCC), Ireland:

• Fully Funded Presentation: “Performing Arts at the Vanishing Point of Social Protest in a ‘New’ Turkey”, 4 September 2015
• Keynote: “‘How Did We Get Here?’ Protest Culture, Political Theatre and Performative Protest in Turkey”, 14 September 2016

Further presentations include:

• Round Table Presentation (fully funded): “Scholarship at Risk: Turkey”, invited by Prof. Dr. Jean Graham-Jones (President of IFTR), IFTR World Congress, Unstable Geographies: Multiple Theatricalities, Universidade de Sao Paolo (USP), 13 July 2017
• Paper Presentation: “Turkey’s Many ‘Coups’ de Théâtre: State Theatricality vs. Performative Protest”, ACLA Conference, Europe in Crisis? Crisis-Rhetoric, Alternative Subjectivities, and Languages of Protest, University of Leiden, 8 July 2017
• Paper Presentation: “‘How Did We Get Here?’ Interweaving Histories of Performance Culture, Collective Identity and Protest Movements in Turkey”, IFTR World Congress, Presenting the Theatrical Past, Stockholm University, 15 June 2016
• Paper Presentation: “From Performative Protest to Theatrical Play: A Reading Through American Performance Theory”, The Department of American Culture and Literature One-Day Conference, Hacettepe University, Beytepe Campus, Tugrul Inal Hall, Ankara, 25 March 2016
• Paper Presentation: “Performing Arts at the Vanishing Point of Social Protest in a ‘New’ Turkey”, Institutions, Politics, Performance Conference, Institute for Live Arts Research, Athens, Greece, 25 September 2015
• Paper Presentation: “Real Democracy Representations in the Performing Arts in Turkey”, IFTR World Congress, Theatre & Democracy: Unpacking Theatre Scholarship & Practice, University of Hyderabad, Department of Theatre Arts, Gachibowli, Hyderabad (Telangana), India, 5-10 July 2015
• Paper Presentation: “ResIstanbul: Turkey’s Gezi Spirit and its Spectres in Performance”, IFTR/ FIRT World Congress, ‘Theatre & Stratification’, University of Warwick, UK, 28 July-1 August 2014
• Paper Presentation: “The Fool’s Sultan: Biopolitics, the Carnavalesque and Gezi Park”, invited by Ebru Yetiskin, Panel on Urban Media: Foolishness, Technology, Politics, Amber ’13 Festival, Amber Sanat ve Teknoloji Platformu, TAK (Tasarım Atölyesi Kadıköy), Istanbul, 4 November 2013

Outputs include:

• “Over het Spanningsveld tussen Theater en Politieke Macht in Turkije” [About the Tensions between Theatre and Political Power in Turkey], 0090 Newsletter (November, 2016).
• “Türkiye’de Sembolik Siyaset ve Protesto Kültürü: Gezi’den Sonra Yeni Bir Performativite mi?” [Symbolic Politics and Protest Culture in Turkey: A Post-Gezi Performativity?], PRAKSIS, 42 (Nov., 2016/3).
• “Still Standing? A Contextual Interview with ‘Standing Man’ Erdem Gündüz”. In: Jahrbuch Türkisch-Deutsche Studien 2014, In der Welt der Proteste und Umwälzungen: Deutschland und die Türkei, Vol. 5. Göttingen: V&R Unipress 2015: 121-36.
• “The Standing Man Effect”. Mercator-IPC Policy Brief. Istanbul: Istanbul Policy Center, Sabanci University, Stiftung Mercator Initiative 2013.

Intermedial Explorations of Sound, Voice, and Spectatorship

I am preparing a research strand that would bring together some of my previous explorations in interactive sound, music, voice, and dance, and put these casestudies in a wider socio-aesthetic study of intermedial theatre and its impact on our senses.

Previous explorations in this direction were presented:

• Fully funded Lecture-Workshop: “Radical Connectivity through the Voice: A Socio-Aesthetic Re-Imagination”, invited by Camilla Eeg-Tverbakk and Øystein Elle, Sounding Words Seminar, Østfold University College, Fredrikstad, 9 May 2015
• Paper Presentation (fully funded): “Locative Media of Dispossession: The Secret Theatre Revisited”, invited by Paul Craenen and Gilles Helsen, Symposium on Locative Media, Flanders Festival Kortrijk, 10 May 2014
• Paper Presentation: “Public Space as Secret Theatre: Eavesdropping with Locative Audio”, Performart ’14 / Performing Arts Conference, ‘Performing Arts and Public Space’, Istanbul Bilgi University, Istanbul, 20 December 2014
• Paper Presentation: “The Secret Theatre Revisited: Eavesdropping with Locative Media”, ATMM Conference, Audio Technologies for Music and Media, Bilkent University, Ankara, 13 November 2014
• Paper Presentation (fully funded): “Unmasking Disembodied Voices: A Socio-Aesthetic Critique of Interactive Gesture Music”, invited by Prof. Dr. Ingo Starz, Disembodied Voice: Stimme/Körper/Technik Conference at the Institute for the Performing Arts and Film and the Institute for Computer Music and Sound Technology, Zürich University of the Arts, Zürich, 2 June 2012
• Keynote: “Interactive Gesture Music: A Critique of the Social Implications”, invited by Prof. Dr. Johannes Birringer, International Conference-Workshop on Performance and Sound Technologies, Artaud Forum 2: Konnecting Gestures, Brunel University London, Antonin Artaud Performance Centre, London, 30 March-1 April 2012
• Keynote: “Vocal Extensions: Disembodied Voices in Contemporary Music Theatre and Performance”, invited by Guy Coolen (artistic director of Opera Days Rotterdam) and Peter Fengler (organiser and programmer of Arts Centre De Player) as part of the Opera Festival programme Who’s Afraid of Modern Opera, Rotterdam, 28 May 2011
• Lecture: “Radical Vocality in Performance”, invited by Prof. Dr. Phillip Zarrilli, Presessional Orientation and Research Seminar, University of Exeter, 1-2 October 2010
• Paper Presentation: “Radical Vocality in Performance”, International Conference Song, Stage, Screen V, Interdisciplinary Approaches to ‘Voice’ in Music, Theatre and Film, University of Winchester, UK, 3-5 September 2010
• Keynote “Radical Vocality in Performance: On Voices that Lay Bare their Bodies”, invited by Prof. Dr. Morten Michelsen, University of Copenhagen, Musicology Department, The Voice Seminar, Copenhagen, Denmark, 5 November 2009
• Paper “Interfacing Dance: Choreographing (by) Gestural Controls”, Research Colloquium in Theaterwetenschap, University of Amsterdam, the Netherlands, 1 December 2005
• Paper “Interfacing Dance: Choreographing (by) Gestural Controls”, Sound Moves: An International Conference on Music and Dance, Roehampton University, UK, 5-6 November 2005

Outputs include:

• “The Secret Theatre Revisited: Eavesdropping on Locative Media Performances”, Journal of Sonic Studies, 5 (Dec., 2017/2).
• “Die Demaskierung der körperlose Stimme: Eine sozio-ästhetische Betrachtung interaktiver Bewegungs-Musik” [ Unmasking the Disembodied Voice: A Socio-Aesthetic Approach to Interactive Gesture Music]. Disembodied Voice, ed. Anton Rey Germán Toro-Pérez. Berlin: Alexander Verlag Berlin 2015. (=subTexte, Institute for the Performing Arts and Film Zürich, Vol. 10)
• “Vocal Extensions: Disembodied Voices in Contemporary Music Theatre and Performance”. Department of Public Sound. Ed. Including Vinyl Record. Ed. Peter Fengler. The Netherlands, Rotterdam: De Player 2012: 1-20.
• “Interactive Dance: Looking at Space through the Eyes of the Matrix”. In: Performing the Matrix. Mediating Cultural Performances. Eds. Meike Wagner & Wolf-Dieter Ernst. München: Epodium Verlag 2008: 157-73. (=Reihe Intervisionen Band 8)
• “De microfoon als interface”. [The Microphone as Interface]. In: Theater & Technologie. Eds. Henk Havens, Chiel Kattenbelt, Eric de Ruijter & Kees Vuyck. Amsterdam: Theatre Institute The Netherlands 2006: 214-25.

COMPLETED PROJECTS

Post-Doc Research: Post-Migration in Performance

This project focuses on the concept of ‘post-migration’. ‘Post-migrant’ refers to the communities of second and third generation migrants. The central contention is that post-migrant theatre forms a particular aspect of migration history and cultural policymaking that has been hitherto overlooked. Besides mapping the networks and projects that support this thesis and type of art praxis, the research zooms in particularly at forms of post-migrant theatre that give a special role to music (and sound). The study of such new forms of ‘music’ theatre has been for long monopolized by opera studies, which often limits itself to historical or social analysis (or to an orientalist notion of ‘Türkenoper’). The proposed interdisciplinary approach promises to extend this still budding field of study by looking at multicultural forms of music theatre projects from the post-migrant perspective and by incorporating at least four other conceptual fields that have hitherto little or not been connected in Theatre Studies: music sociology, sound (and auditory culture) studies, migration studies (globalisation theory), and postcolonial theory (critical whiteness studies).

This post-doc research project covered three consecutive research periods:

• 5/2012 – 4/2013, with support of a Tübitak Research Fellowship at Ankara University, under the working title ‘Turkish Opera in Transit: Socio-Artistic Collaborations between Turkey and Europe’. This initial part of my postdoc research maps the theatre groups and artists who work with forms of music theatre and opera to tell stories of Turkish migration and diaspora into Europe.
• 9/2012 – 8/2013, with support of a Mercator-IPC Fellowship under the working title, ‘Turkish Post-Migrant Theatre in Transit: Transnational Pathways of Socio-Artistic Collaboration between Germany and Turkey’ in the thematic area of ‘Education’. This research looks more closely at the work of Turkish artists who collaborate with both German and Turkish ensembles to address socio-cultural issues of post-migrant communities through theatre performances.
• 1/2013 – 12/2013, with support of a Türkiye Burslari fellowship at the Migration Research Center of Istanbul Bilgi University, under the working title: ‘Post-Migration in Music Theatre: Listening at the Cultural Crossroads between Europe and Turkey’. This research has a specific focus on music theatre and contemporary opera.

The project initially started with a blog, entitled ‘Turkish Opera in Europe’.

It included the organisation of two conferences:

• 50 Years of Turkish-Belgian Migration History, at the Center for Migration Research, Istanbul Bilgi University, Santralistanbul Campus, 16 May 2015, in collaboration with the Consulate-General of Belgium in Istanbul and the Turkish-Belgian Friendship and Cultural Association, sponsored by Godiva/Ülker, Ontex, AKSigorta, TEB-BNP Fortis Paribas;
• Mercator-IPC International Symposium and Workshop: Post-Migration in Performance: Representation, Policy and Education, at the Istanbul Policy Center and Kumbaraci50, 8-9 June 2013, with support of the IPC–Sabancı University–Stiftung Mercator Initiative and Goethe-Institute Istanbul.

Intermittent results were presented as:

• Paper Presentation (fully funded): “Post-Migration in Performance: A Bridge too Far for Turkey?”, invited by Dr. Yasemin Dayioglu, Intersections: Cross-Cultural Theater in Germany and the U.S. Conference, University of Pennsylvania, Philadelphia, USA, 21-22 March 2014
• Paper Presentation: “Turkish Post-Migrant Theatre in Europe: Routes vs. Roots in a Forming Transnational Network”, IFTR/FIRT Annual Conference, ‘Re-Routing Performance / Re-Caminant L’Escena’, Institut del Teatre, Barcelona, Spain, 26 July 2013
• Lecture: “The Turkish Post-Migrant Perspective: Artistic Routes between Europe and Turkey”, invited by Prof. Dr. Pınar Uyan Semerci, Istanbul Bilgi University, Centre for Migration Research, Dolapdere Campus, Board of Trustees Room, Istanbul, Turkey, 15 May 2013; and again presented on invitation by Dr. Yunus Sozen, Özyegin University, FEAS 345 Nolu Toplanti Odasi, Istanbul, 16 May 2013
• Paper Presentation: “Contested Spaces of Acoustic Community in Post-Migrant Theatre,” ATMM Conference, Audio Technologies for Music and Media, Bilkent University, Ankara, Turkey, 1 November 2012
• Paper Presentation: “Migrating Sound: Peripheral Voices in European Opera and Music Theatre,” Kongress der Gesellschaft für Theaterwissenschaft, Sound und Performance, Universität Bayreuth, Germany, 5 October 2012
• Paper Presentation: “Auditory Distress and Aurality in Turkish Post-Migrant Opera: A Socio-Aesthetic Exploration”, Perceptual Tensions, Sensory Resonance: An International Conference on Contemporary Opera and New Music Theatre, University of Toronto, Canada, 8-9 June 2012
• Paper Presentation: “Post-Migrant Turkish Opera: A Social Politics of Memory”, PSi Conference #17, Camillo 2.0, University of Utrecht, the Netherlands, 25-29 May 2011
• Paper Presentation: “Post-Migrant Turkish Opera”, invited by Dr. Anna Harpin, Presessional Orientation and Research Seminar, University of Exeter, Exeter, UK, 28 September 2011
• Paper Presentation: “Turkish Community Opera in Europe?”, invited by Dietrich Grosse (Director of Mondigromax, cultivos de cultura), Òpera I Llibret Simposi Internacional / Opera and Libretto International Symposium, Òpera de Butxaca i Nova Creació, Barcelona, Spain, 26-27 June 2011
• Paper Presentation: “Modernizing ‘the Turk’, or What is Turkish, through Opera”, IFTR/FIRT Working Group Music Theatre and panel ‘Decomposing Opera’ in the general conference programme Cultures of Modernity, Ludwig Maximilians University Munich, Germany, 25-31 July 2010

Outputs include:

• Report, “Post-Migration in Performance: An Incentive for Turkey’s Cultural Policy”, IPC-Mercator-Sabanci University Initative, 2015.
• “Turkish Post-Migrant ‘Opera’ in Europe: A Socio-Historical Perspective on Aurality”. The Legacy of Opera: Reading Music Theatre as Experience and Performance, ed. Clemens Risi & Pamela Karantonis. Amsterdam: Rodopi 2013: 185-207.
• “Een wieg voor Turkse opera in Nederland?”. [A Cradle for Turkish Opera in The Netherlands?]. Online Blog “Turkish Opera in Europe” (18 April 2010).
• “Turks-Nederlandse opera met een Koreaanse noot”. [Trans. Turkish-Dutch opera in a Korean key]. In: TM5 (summer, June 2010): 59-60.

Cathy Berberian: Pioneer of Contemporary Vocality and Performance (10/2005 – 10/2014)

During my PhD research, I co-organised a conference on Cathy Berberian’s oeuvre and her unacknowledged role as singer-composer and vocal pedagogue, within the Musicology Department of the University of Amsterdam in 2006. This event would turn into a long lasting commitment to the budding scholarship of voice studies. It resulted in the publication (with Routledge) of the first complete historical reference work under the same title, on this noteworthy American-Armenian avant-garde mezzosoprano, co-edited with Dr. Pamela Karantonis (Bath Spa University), Dr. Francesca Placanica (National University of Ireland Maynooth) and Dr. Anne Sivuoja-Kauppala (Sibelius Academy, Finland). The conference and the publication were kindly supported by ASCA/Faculty of Humanities, KNAW, Dutch Foundation for Women in Music, Gaudeamus, Instituto Italiano di Cultura per i Paesi Bassi, The College Board of the University of Amsterdam, and the Institute of Musicology.

Earlier results of this project were presented as:

• Paper Presentation: “Cathy Berberian: From Score to Stage”, Song, Stage & Screen: Interdisciplinary Approaches to the Musical Stage, University of Portsmouth, UK, 30 April 2006
• Paper Presentation: “Cathy Berberian: From Score to Stage”, ASCA Conference Cathy Berberian: Pioneer of Contemporary Vocality and Performance, University of Amsterdam, the Netherlands, 28 April 2006

Outputs include:

• “Cathy Berberian’s Stripsody: An Excess of Vocal Personas in Score and Performance”. Cathy Berberian: Pioneer of Contemporary Vocality, ed. Pamela Karantonis, Francesca Placanica, Anne Sivuoja & Pieter Verstraete. Oxford: Routledge 2014: 67-85.
• “Introduction / Overture”. Cathy Berberian: Pioneer of Contemporary Vocality, ed. Pamela Karantonis, Francesca Placanica, Anne Sivuoja & Pieter Verstraete. London: Ashgate 2014: 3-18.

PhD Research: The Frequency of Imagination: Auditory Distress and Aurality in Contemporary Music Theatre  (9/2004 – 6/2009)

This project aims to establish a covering theory for the analysis of sound in relation to text and theatrical space within a (music) theatre performance. Although much theoretical discourse on sound already exists in music theory (musicology), film studies, media and literary studies of radio art and the phonologic tradition, it is still almost unheard of to think about sound in theatre theory. The existing semiotic theories on theatre have mostly overlooked the importance and workings of sound within the processes of semiosis and perception. This study takes sound as its primary object, regarding music, noise and voice as possible manifestations of structuring sound signals in a meaningful code. Also the influence of technology and new media, which have expanded the range of aesthetic means in the significant use of sound on stage, need to be taken into account. The aim of this study is to contribute to new blending forms of sonic art, new music theatre and installation art, which are most often marginally treated in the analysis of our visual image-centred culture. For that purpose, the notion of music theatre has to be redefined in terms of performances that put sound in the foreground (and not merely as an illustration to the visual) as a means to narrate and perform a story. In these performances sound usually acquires narrative, performative, corporeal and haptic qualities, which are hardly ever analysed, because there is no theory available that offers the tools for interpretative insight to the experience of sound and its meanings.

This research is embedded in the ‘After Opera‘ Project of Prof. Dr. Christopher Balme (starting from 1/2005).

As part of my investigations, I co-organised a series of soirees on the notion of ‘synaesthesia’ within ASCA in 2006, together with Prof. Dr. Maaike Bleeker at the University of Amsterdam.

The outcome of the project resonated with some of the debates in the ‘Operatie Muziektheater‘ Project, in collaboration with Opera Europe, where I also submitted a vision for music theatre in the future (28 May 2010).

I co-wrote and copy-edited the ‘landscape text‘ (mapping) of the music theatres in Flanders in 2009, which was used for policymaking and funding in subsequent years.

I summarised the main thesis of the dissertation in a radio interview, on 9 June 2009 (7pm), in the cultural program De Avonden, Episode 23, VPRO-Radio 6.

Work in progress was presented as:

• Fully Funded Workshop: “Contemporary Music Theatre: A Historical View”, invited by Luca Scarlini & Hans Bruneel (artistic director of LOD), as part of the Workshop ENOA / LOD: History and Dramaturgy of Music Theatre and Opera, LOD residences, Ghent, Belgium, 24 November 2011
• Keynote: “Recente ontwikkelingen in het Vlaamse muziektheater”, meeting between the Advisory Boards of Music Theatre of the Flemish Ministry of Culture and NFPK+, DeSingel, Antwerp, Belgium, 28 January 2011
• Workshop: “Sound and Aurality in the Theatre”, invited by Benno van Leer, ArtEZ Institute of the Arts, Arnhem, the Netherlands, 15 February 2010
• Keynote: “Music Theatre in Flanders: A Transnational Perspective”, invited by Prof. Dr. Maaike Bleeker (Head of Theatre Studies), Treasures Series, Utrecht Theatre Studies, Studio T, University of Utrecht, Utrecht, the Netherlands, 30 September 2009
• Paper Presentation: “Auditory Distress as a Conceptual Basis for a New Approach to Music Theatre”, IFTR/FIRT Working Group Music Theatre, University of Lisbon, Portugal, 14-17 July 2009
• Keynote “Claiming Music in the Theatre / De slag om muziek in het theater”, invited by Ann Olaerts (former Director of Flemish Theatre Institute, VTI) and Joris Janssens (researcher for VTI and the associated theatre journal, Courant), part of a symposium on Music Theatre in Flanders, organised by VTI, Flanders Music Centre and the Opera XXI Festival in the Arts Centre DeSingel, Antwerp, Belgium, 22 June 2009
• Paper Presentation: “The Frequency of Imagination: Listening in Music Theatre”, Colloquium in Musicology (University of Amsterdam), 14 May 2009
• Guest Lecture “The Frequency of Imagination”, invited by Joris P. Weijdom (Head of Research Group Virtual Theatre), Utrecht School for the Arts, Delta Lectures Series HKU, Utrecht, the Netherlands, 13 May 2009
• Paper Presentation:“Distressing Aural Images on the Fringe of the Gaze”, Orbis Pictus, Theatrum Mundi Conference, Theatre Studies, University of Amsterdam, the Netherlands, 23 October 2008
• Paper Presentation: “Amplifying Narrative Imagination: Belá Bartók’s Bluebeard’s Castle by Transparant (2006)”, IFTR/FIRT Working Group Music Theatre, University of Helsinki, 7-12 August 2006
• Paper Presentation: “The Wagnerian Gesamtkunstwerk versus the Deleuzian assemblage: Belá Bartók’s Bluebeard’s Castle by Transparant”, SLSA/ASCA Conference Close Encounters, panels Body, Sound, and Technology, University of Amsterdam, the Netherlands, 14 June 2006
• Paper Presentation: “Voicing the Interface: Acousmatic Voice and Mediated Vocal Space in Contemporary Music Theatre”, Arbeitstag der AG Musik-Theater der Gesellschaft für Theaterwissenschaft, Hellerau, Dresden, Szenischer Musik und medialer Raum, Germany, 8-9 October 2005
• Paper Presentation: “Narrativity of Wordless Voices: A Case-Study in Music and Audio Theatre”, IFTR/FIRT Working Group Music Theatre, Clarice Smith Performing Arts Center, University Maryland, USA, 28-29 June 2005
• Paper Presentation: “De Helling van de Oude Wijven: A Case-Study of Narrative Voice and Vocal Space in Music Theatre”, Research Colloquium in Theatre Studies, University of Amsterdam, the Netherlands, 20 May 2005
• Paper Presentation: “Vocal Distress on Stage: Voice and Diegetic Space in Contemporary Music Theatre”, Media in Transition Conference 4, The Work of Stories, MIT/Massachusetts Institute of Technology, Boston, USA, 6-8 May 2005
• Paper Presentation: “Voice as Narrative Interface?”, ASCA Soirees 2005, Stories that Just Happen: Performative Narratology, University of Amsterdam, the Netherlands, 11 April 2005
• Paper Presentation: “Sounding Against the Grain: On Intervening/Interventional Sounds and Rhythms in Immersive Installation Art”, ASCA Conference Sonic Interventions, University of Amsterdam, the Netherlands, 29 March 2005
• Paper Presentation: “Diegetic Vocal Distress in a World of Possibilities: On the Purpose and Applicability of Postclassical Narrative Theory to Notions of Space and Voice in New Music Theatre”, The Travelling Concept of Narrative, University Helsinki, Collegium for Advanced Studies, Finland, 3 December 2004
• Paper Presentation: “Voicing the Failure – Phenomenological Questions of Sound and Voice in Men in Tribulation: on Artaud and the Effect of Extended/Mediated Voice”, IPP Performance and Media Studies, Johannes Gutenberg University Mainz, Germany, 1 August 2004
• Project Presentation: “The Frequency of Imagination”, Flemish-Dutch Study Day Theatre Studies, Theatre Institute Netherlands (TIN) and University of Amsterdam, the Netherlands, 9 June 2004
• Paper Presentation: “Sounding Narratives in Performative Space”, IFTR/FIRT Working Group Music Theatre, Alexandrinsky Theater, St.-Petersburg, Russia, 24 May 2004

Outputs include:

• “Is het muziektheater de toekomst van de opera?”. [Trans. Is Music Theatre Opera’s Future?]. Statement. With Guy Coolen, Etcetera (2 Oct. 2017),
• Curtin, Adrian & David Roesner, eds. “Sounding Out ‘the Scenographic Turn’: Eight Position Statements”. With statements from Ross Brown, Adrian Curtin, George Home-Cook, Lynne Kendrick, David Roesner, Katharina Rost, Nicholas Till and Pieter Verstraete. In: Theatre & Performance Design, 1:1-2 (2015): 107-125.
• “Radical Vocality, Auditory Distress and Disembodied Voice in Performance: The Resolution of the Voice-Body in The Wooster Group’s La Didone”. In: Theatre Noise: The Sound of Performance. Eds. Lynne Kendrick & David Roesner. UK, Newcastle upon Tyne: Cambridge Scholars Publishing, 2012: 82-96.
• “The Listener’s Response”. In: Performance Research3, On Listening (October, 2010), ed. Catherine Laws: 88-94.
• “Het verlangen van het luisteren: Over de esthetiek van verstoring in de installatiekunst van Granular Synthesis” [Trans. The Desire of Listening: About the Aesthetics of Distress in the Installation Art of Granular Synthesis]. In: nY, Tijdschrift voor literatuur, kritiek en amusement, voorheen yang & freespace Nieuwzuid (June, 2009): 209-19.
• “Claiming Music for the Theatre”. Music Theatre in Flanders: Perspectives on the Landscape. Flanders Music Centre & Flemish Theater Institute 2009: 41-53.
• “De slag om muziek in het theater: Omtrent definities tussen cultuurbeleid en artistieke vorm” [Trans. Claiming Music for the Theatre: About Definitions between Cultural Policy and Artistic Practice]. In: Courant 89, (May-July, 2009): 4-9.
• “Auditory Imagination and Narrativization in Béla Bartók’s Bluebeard’s Castle”. In: Sonic Mediations: Body, Sound, Technology. Eds. Carolyn Birdsall & Anthony Enns. UK, Newcastle upon Tyne: Cambridge Scholars Publishing 2008: 243-57.
• “Het exces in het luisteren: Performativiteit van geluid in theater” [Trans. The Excess in Listening: Performativity of Sound in Theatre]. In: Etcetera 108 (September, 2007): 25-30.