Voice. Body. Memory.

Research proposal

Non-lexical Vocalization, Embodied Memory, and Spectators’ Sensory–Bodily Experience in Live Performance

This research explores how non-lexical vocalization transforms spectators’ sensory-bodily perception during live performance. In doing so, it focuses on spectators’ reports of their experience. Non-lexical vocalization is a non-discursive and non- representational sonic event that does not operate through language. The material qualities of non-lexical voice shape spectators’ perception.In this research, embodied memory is an interpretive framework. It is understood as patterns of experienced bodily sensations (tension, breath, posture and rhythm) that may be activated without relying on conscious recollection. Existing studies mainly focus on performer training or cultural transmission and pay little attention to the spectators’ lived experience. They offer a strong theoretical framework and methodological tools, but they do not study non-lexical voice as a primary stimulus for embodied spectatorship.There is limited qualitative and time-based research on how spectators themselves experience and report sensory-bodily shifts in response to non-lexical vocalization throughout live performance.My research seeks to address this gap through qualitative audience research, phenomenological methods, and practice-led performance inquiry. It can contribute to existing studies on spectatorship, voice and embodied memory through offering a new audience-centred perspective and a clear methodology.

Writing & articles

The Significance of Masks in the Formation of Acting Theories

Manuscript in preparation · Drawn from Master’s thesis research

The Importance of Toby Wilsher’s Ideas in the Development of Contemporary Mask Theatre: A Case Study of Familie Flöz

September 2025 · Under review · Drawn from Master’s thesis research

A Rhizomatic Reading of Reza Abdoh’s Performances, with Emphasis on “The Father Was a Peculiar Man”

October 2025 · Under review