Voiceperformance

2016 February: My new artistpage as a voiceperformer at Facebook
Working with the dancer Miguel Cortés on a new idea for interactive voice performance-concert, Voice Cloud. 10th of february:…Just had a great totally inspiring meeting with Inter Art Center, Malmö, through the composer Kent Olofsson.

VOICE OG GAS My poetic self august aug 2015 photo: Johan Haugen

Voice of Gas, My poetic self, august 2015, photo: Johan Haugen

Aug/Sept 2015 participated as Voice of Gas, visting artist/teacher/researcher and as a student in THE BOARDING SCHOOL/The Sisters Academy, Inkonst, Malmö, Sweden.
I worked especially with water and voice. One of the highlights was the workshop with the thereminist Doris Chrysler.
Here is my blogpost from that experience
www.sistersacademy.dk  www.sistersacademymalmo.se
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ONGOING since 2014- I still live in water

Amnotic Fluid:photo: Johan Haugen

I still live in water Amnoitic Fluid Photo: Johan Haugen

2014 Felicia Konrad and the artist Johan Haugen started the intuitive artproject I still live in working with water and creating in the creation and creating together with creation.
Containing performance, visuals, film, music and soundpieces.

2015 Our first public live pieces, 2 site specific 4 hour durational performances
To carry water. To carry 5890 litres one day.
30/5 Dome of Visions
Film by Christian Jönsson: To carry water. To carry 5890 litres one day

9/8 at Ribersborgs City Beach in Malmö, Sweden.
Film by Christian Jönsson: To carry water. To carry 5890 litres one day.
Ribersborgs City Beach.
Made possible with support from Malmö Kulturstöd and Dome of Visions.
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Watch Felicia Konrad Voiceperformance Earth Love  at the Solofestival on Theatre Trixter, Gothenburg, 19th of january 2013.
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About me: Since 1998 I have developed my own style as a voiceperformer.
I use sounds, songs and text. I work accoustic and with microfone. I perform solos or work in collaboration. I perform indoor and outdoor. From summer 2014 I have decided to dedicate myself to a certain theme; water!

3XJesus Voiceperformance 1998 Photo: Ilona Linder

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www.theresabener.se

When a human being is born, the first sound she hears is her own voice. Spontaneously, unpolished and untrained, the voice explodes out of the body. During her entire life she shall use this bodily sound, and modulate it, more or less refined, in separate language systems. The very origin sound, or the tonic chord, will remain but not be encouraged in the deliberate path of the individual through social networks.

When Felicia Konrad makes a voice performance, she is searching for that tonic cord that is embedded in the language and carries the sound of the voice. Interestingly as it is we humans exchange a tremendous amount of practical messages and information, which are so predictable that we only need to listen to the vocality and the contour of the voice to receive the message.  Still, very few care to define what the voice is telling.

Felicia Konrad works with words, language, song, speech and vocalizations, but always with an intention to listen closely to the expression of the voice. Her ways to explore the voice are physical, poetic and humorous at the same time. In a performance she intends to impersonate the way of the bodily sounds through a human, and the voices’ communication between different figures. In one short performance she can give shape to multiple characters at the same time, often with a close contact to the spectators, who in turn will start to experience those sounds in themselves.

Voice performance is a surprisingly small field within stage art and thereby requires particularly high demands of precision on the performer. Some write it off as primal screaming and baby babble. But a performer like Felicia Konrad tries to demonstrate how the sounds shapes the human and her relations, both outwards with others and inwards, with herself. A poetic voice anthropologist, one is tempted to call her.

Det första en människa hör när hon föds är sin egen röst. Spontan, opolerad, otränad exploderar rösten ur kroppen. Under hela livet ska hon använda detta kroppsljud och modulera det mer eller mindre raffinerat i olika språksystem. Själva ur-ljudet, eller grundackordet, kommer att finnas kvar men inte bejakas i individens medvetna väg genom sociala nätverk.

När Felicia Konrad gör en röstperformance söker hon sig tillbaka till det där grundackordet som ligger inbakat i språket och bär röstens ljud. Intressant nog utväxlar vi människor en oerhörd mängd praktiska meddelanden och informationer som är så förutsägbara att vi just bara behöver lyssna till röstens klang och konturer för att ta till oss budskapet. Ändå är det få som bryr sig om att definiera vad rösten berättar.

Felicia Konrad arbetar med både ord, språk, sång, tal och läten, men alltid i syftet att lyssna närmare på röstens uttryck. Hennes sätt att utforska rösten är fysiskt, poetiskt och humoristiskt på en gång. I en performance söker hon gestalta kroppsljudens väg genom människan och röstens kommunikation mellan olika figurer. I en kort performance kan hon agera flera gestalter på en gång, ofta i nära kontakt med åskådaren, som i sin tur börjar uppleva de där ljuden inne i sig själv.
Röstperformance är ett förvånansvärt litet fält inom scenkonsten och ställer därför särskilt höga krav på precision hos sina utövare. En del avfärdar det som urskrik och babybabbel. Men en performer som Felicia Konrad försöker påvisa hur ljuden formar människan och hennes relationer, både utåt med andra och inåt, med henne själv. En poetisk röstantropolog, frestas man att kalla henne.

Theresa Bener, kritiker

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