This article considers the limits, layers and potential of vocal mimesis in the creation and performance of a new musical theatre work. Reflecting on the process and production of All That’s Left—a musical that performed imagined conversations between pop-culture icons from ‘The 27 Club’—I offer three readings of vocal mimesis as an act that constructs a space of plural and paradoxical possibilities.
|Number of pages||12|
|Journal||Journal of Interdisciplinary Voice Studies|
|Publication status||Published - 1 May 2016|