Dianne Weller is a Performing Artist who completed a Bachelor of Arts in Performance focusing on Theatre and Singing in Australia & continued studies and worked in UK. Dianne is working primarily with voice as a maker and performer; in multipule contexts from spoken to sung, from classical to extreme in the vocal style ranges. She also works as a Voice Over Artist for Radio, TV, & Film in Belgium and France.
She recently completed a Post Masters study in Antwerp under the a.pt umbrella of a.pass where her focus was to work on Compostition and Writing text for Vocal Performance work under her mentor voice specialist David Moss, who is artistic director for the Institute for Living Voice.
During this experience Dianne was exposed to Radio Play composition and produced the work attached Obstruction of Peace that was included in her presentation work for a.pt. This has become the main area of development and focus for Dianne’s future work, focusing on the use of Fiction/Non-Fiction reality fusion for sound installations set in various environments. Her main questions are pertaining to the use of sound in different performative environments and what role does the audience play in these contexts.
I shall present a past work “the Passage…” with excerpts attached. I will also be working on re-editing a radio piece called “Audio Diary of Chris Watson’s workshop” which will go out on the radio Rada in Belgium. Finally, begin to work on the synopsis “for your ears only” (working title) an audio/spectacle for theatre.
For Your Ears Only – WorkSpaceBrussels & nadine residencies 2012 – ongoing
This creation is a theatrical Sound performance or as sound specialitst Barry Blesser calls it: ‘Eventscape’. It deals in principle with how to create a spectacle for theatre purely based on Sound in space & time. How can the audience construct its own performance from word and sound alone? In turn, challenging the perceptions of the theatrical space, its potential and limitations, allowing sound to be as ever present as the visual medium.
The concept of this research-based work is that it is based purely on the idea that the usage of sound or the ‘audio factor’ will be used in the creation of this work in a layering effect, stage by stage. A negation of the visual aspect will be applied to each processes of creation.
I would like to incorporate into this work all aspects of the theatrical process by including the Critique. I would like to work with critics and conduct an aural show out of their critical discussion. The audience will listen to their voices discussing different opinions about an imaginary show and construct their own show from this.
The audience will arrive expecting to see something on the stage, the soundscape will already have started whilst they are seating, at some point the lights will indicate that something is about to start but nothing will appear on the stage and they will realize that the narrative of the additional blended soundscape of references & material drawn from the venue itself, has already commenced. This material, accompanied by the Critics narrative and the specific sonorisation in the space will be the vehicle that drives the audience’s imagination and leave space for them to create their own experience.
Concept by Dianne Weller. Direction by Dianne Weller & Julie Pfliederer. Sound Design by Els Viaene
Is a film made about this particular oeuvre of John Cage. This is a collaboration between Sara Vilardo, Alessandra Coppola & myself with original concept by Sara Vilardo.
On the occasion of the centenary of the birth of John Cage (1912-2012), we want to reflect on the repercussions of how and what the philosphy of thoughts from John Cage has been in the various arts and aesthetics in general, during the second half of the twentieth century until today.
Rebel to the syntax in its linguistic, musical and social aspects, the poetics of Cage with his praise of detachment and the present moment, and appropriate indeterminacy, has helped to establish a link between Western and Eastern Art. Cage has given a spiritual dimension to technology and a creative dimension to listening.
By inverting the relationship between space and time, musical time becomes space and live sound as if it were time.
By undermining the barriers between artistic and extrartistic, has profoundly changed several creative practices, inserting the sounds from various field recordings – such as wind, rain, thunder, water, and bird calls, etc.. – in his compositions.
The aim with this creation is to translate into an original film our relationship to the ideas and thoughts of Cage.
I recently went to this very interesting symposium:
Listen Symposium – Curated by Esther Vanrooy
Sven Sterken : Between the Score and the Concert Hall – Music and architecture in the work of Iannis Xenakis
Guy De Bièvre : Leif Brush: Terrain Instruments
Paul Devens : A talk about his works
Jan de Vylder : Architect of les Ballet C de la B/Lod building Gent
Micheal J Schumacher : Living Room Piece, an explaination of the work
Raviv Ganchrow : Emplacements
Vincent Dunoyer : Texture-Performer (performed a dance and playback of the movement)
Barry Blesser : Eventscapes : the Aural Experience of Space and Place
Alex Arteaga : The Enactive Approach to Sound