Polyvocally perverse; or, the disintegrating pleasures of singing along | Intellect Skip to content
1981
Volume 6, Issue 1
  • ISSN: 1750-3159
  • E-ISSN: 1750-3167

Abstract

Contemporary philosophies of voice, like theories of the musical, rely on integration. But sound resists contextualization, integration, and wholeness. Embracing the exhilarating possibilities of vocal play, I read Stephen De Rosa’s performance of a community theatre troupe’s version of ‘The Baseball Game’ from Falsettos as a sign of the inherent multiplicity of voice. In De Rosa’s vocal agility, I hear a transgression of the integrated voice and the assumption of a polyvocality in which voice refuses the claims of a singular, corporeal identity. But, like the musical, voice can find strength in disintegration. Singing along to cast albums – which, although they separate the sound from the show, permit the musical to reach a broader audience than productions alone – fans find pleasure in a cacophonous polyvocality that our voices are always ready to unleash, if only we set them free.

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/content/journals/10.1386/smt.6.1.89_1
2012-03-28
2024-02-29
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  • Article Type: Article
Keyword(s): falsetto; Falsettos; integration; musical theatre; singing along; voice
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