Abstract
This article discusses the dynamic relationship between ritualistic behaviours, traditional materials and performativity as it examines how work with traditional chants may affect the practitioner's mode of presence. It specifically draws from observations on the performances of Singaporean actor Ang Gey Pin in the Workcenter's One Breath Left and Polish theatre company Teatr ZAR's Gospels of Childhood. Each brings chants from very distinct cultural cradles – the Chinese diaspora and isolated Eastern European regions around the Black Sea, respectively. The study also traces a parallel between this vein of research and older artistic forms intended for the oral transmission of knowledge and traditions, such as Islamic philosopher Avicenna's recitals.
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