What can touch, as operational metaphor and physical method, offer to voice work for an intersectional performer in an intercultural context? This analysis considers 3 voice practices I have researched within the frame of experimental deviser training with diverse student groups, grounded in my work at the Norwegian Theatre Academy (NTA). The exercises work with different touch interfaces; (1) Vocal Wrestling (touching each other), inspired by contact improvisation and Grotowski diaspora trainings, (2) Follow the bubbles (self-touch) derived from anatomical voice methods, and (3) The Voices in My Voices (touching our communities/cosmologies) inspired by decolonial and New Materialist (NM) thought. The work proposes touch as generative in the process of world making via voice. Strategies include: decentring the teacher, empowering student world building, polyvocality, brave spaces, vocal risk and queer use via hybrid experience. It puts forth principle-based and practical starting points for models of touch in training which ‘meet’ today’s climate of care and carefulness proactively and with lightness. Theoretically, this work is grounded in McAllister-Viel, Thomaidis, Oram, Eidsheim, Object Oriented Feminism, aurality studies, critical whiteness and decolonial theory.

作为操作隐喻和物理方法，什么可以为跨文化背景下的跨文化表演者提供声音工作？本分析考虑了我在不同学生群体的实验设计师培训框架内研究的 3 种声音实践，这些实践以我在挪威戏剧学院 (NTA) 的工作为基础。这些练习适用于不同的触摸界面；(1) 声乐摔跤（互相触摸），灵​​感来自接触即兴创作和格洛托夫斯基侨民培训，(2) 跟随源自解剖学声音方法的气泡（自我触摸），以及 (3) 我的声音中的声音（触摸我们的社区） /宇宙论）受到非殖民主义和新唯物主义（NM）思想的启发。该作品提出触摸在通过声音创造世界的过程中具有生成性。策略包括：分散教师的权力，通过混合体验增强学生的世界建设、多声性、勇敢空间、声音风险和酷儿使用。它为训练中的触摸模型提出了基于原则和实用的起点，这些模型主动且轻松地“满足”当今关心和谨慎的氛围。从理论上讲，这项工作是以麦卡利斯特-维尔、托迈迪斯、奥拉姆、艾德海姆、面向对象的女权主义、听觉研究、批判白人和非殖民理论为基础的。