This research questions the relationship between the performer and a recorded voice, between the acting and the audio archive. What can a performer do with a recorded voice? At what distance, according to what modalities? And more broadly in the visual and sound arts, how can we make a work of art of the oral archive? This research is based on experimentation around two former pieces using recorded voices: Trust Issues, which questions the archiving of the artist’s voice, and Les Crieries de Paris, inspired by a poem of the late Middle Ages, staging the shouts in the city from dawn to night. Regarding the PhD research, the "Crieries" will here focus on more contemporary voices from the Brussels sound landscape in collaboration with the organisation Bruxelles Nous Appartient to create this time Les Crieries de Bruxelles. The sources are thus pre-recorded voices of contemporary artists on the one hand and recovered or reconstructed historical archives on the other hand, making the shouts of European capitals heard across different eras. The question underlying in this context of an art research is that of the veracity or the fakeness of an archive and its many possible reenactments. The methodology of this reserach in Art and Art Sciences is to propose several experimental performative objects, each including a performer and a recorded voice. The performer can use this material as a narrative thread to follow or deconstruct or to act with. The very form of the original recording, its rhythm, its timbre, its tone, may be the subject of a complete reenactment. Proposals must adopt different biases regarding the sound and the acting techniques offered to the performer, but also regarding the accessories and scenography he will be offered to act with. These three years of research and experimentation will compose an hybrid proposal between research and performance. This hybrid form will have to challenge the status of the archive and, more particularly, of the oral archive. This result should report on the different forms of archives and performances produced over the three years. Since performance and orality are synonymous with ephemerality, the challenge will be to turn the performances into archives-artworks and the written reflective part into archives-traces.

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