Embodied Voice Theatre is the performance movement I have been developing over the last years, a language born from my fascination with voices, that do not come from my own body, and with the ways memory, trauma, desire, and identity can be carried through sound. In this practice, I work with pre-recorded texts: letters, confessions, interviews, fragments of personal history. Instead of speaking these words live, I synchronize with them through precise lipsync. My body becomes the instrument, the translator, the vessel through which these external voices are re-lived.
​
For me, this movement creates a state of double presence. Onstage, I am both myself and not myself. I’m the performer, but also the medium for someone else’s pain, longing, fear, or truth. The fixed recording and my breathing body exist in tension. That friction is where the performance happens. By separating voice from body, I expose the cracks, the places where identity feels fractured, haunted, or split between different versions of the self.
​
Embodied Voice Theatre doesn’t belong to any formal tradition yet, but it grows out of practices I admire: verbatim theatre, where testimonies shape dramatic structures; mediated-voice performance, which plays with absence and presence; and sound-driven theatre, where the performer responds physically to a pre-composed audio world.
What I bring to this lineage is the use of lipsync not as entertainment, but as dramaturgy. Lipsync becomes a tool to inhabit the psychological landscape of a character, or sometimes my own. It lets me stage internal dialogues, contradictions, and emotional ruptures that are often impossible to express through spoken performance alone.
​
As a queer artist working with themes like religion, self-worth, depression, and the longing for acceptance, I find that this form allows me to give shape to voices that have been silenced, shamed, or buried. It helps me explore the multiplicity of identity, how we carry other people’s voices inside us, how they influence our bodies, and how we fight or embrace them.
​
Embodied Voice Theatre is a practice that treats the voice as archival, relational, and haunted, and the body as the site where those voices are confronted, resisted, and transformed.