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(Re)authoring the 27 club: bewildered voices, acousmatic audiophilia, and the dangers of listening-in

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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.
Original languageEnglish
Pages (from-to)131-142
Number of pages12
JournalJournal of Interdisciplinary Voice Studies
Issue number2
Publication statusPublished - 1 May 2016


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