A group of performers have each memorised a book of their choice. They form a collection of living books that spend their time in the library waiting to be "picked up" by the audience. With disarming naturalness and without the intermediary of a physical object, the living books remind us that learning a text “by heart” is an act of love that mobilises memory as much as forgetfulness.
Making a deliberate decision to present only the voice may assist the ‘making present’ of those who cannot be physically present (for example, those who can’t show their face).
The term ‘acousmatic sound’ means an invisible sound source, and can be relevant to voice. The term comes from ‘the Acousmatics’, pupils of the philosopher Pythagoras who listened to him deliver his lectures from behind a curtain (it was thought that visual distraction would impinge on the purity of his teachings.) In acousmatic art, one hears sound from behind a "veil" of loudspeakers, the source invisible.
Some performances, structures or scripts can be adapted and restaged anew in different spatial and social contexts by local teams. This kind of work promotes the touring of ideas and concepts rather than actors and sets. It can be presented in any number of different spaces, involve audience members as co-creators and performers, and will often imply a different level of work for local teams.
Key to this approach is an effective transmission of information which may involve a careful devising of rules, protocols or scripts.
Creative processes and collaborations involving rehearsal over distance (eg between a dancer and choreographer, or between whole teams) has been shown to be possible.