About the project

An innate drama in quiet, mundane, and missable sounds. They perform again and again for an audience of none— or maybe one if the timing is right. All because they have the misfortune of occurring in an acoustically incompatible setting! It’s about time they took centre stage.

Using basic acoustic engineering, creaky pipes, pin drops, window whistles, and sniffles can finally form a majestic orchestra. Each sound will have a tailored sculptural amplifier that will foreground what was otherwise ignorable. The sculptural aspect of these shapes act as an interactive scenic design inviting the audience to attend to each sound a little closer. As the sounds and their low-tech amplifiers resonate throughout Hannah’s tiny apartment, the concert emerges.

This project received financial support from the National Theatre School of Canada via the Art Apart program, an emergency fund for emerging artists who are affected by physical distancing due to coronavirus (COVID-19).

About the artist

Hannah Meyers is an interdisciplinary artist from Treaty 6 territory in Edmonton, Alberta, now working and studying on the unceded territory of the Coast Salish peoples, including the territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. Currently, Hannah is in her fourth year of the Theatre Performance BFA program at Simon Fraser University where she directed The Albertine Workout by Anne Carson this past November. Hannah has recently performed in New Societies (Re:current Theatre), notnotHamletmachine (Theatrecorps), Bombogenesis (Dir. Steven Hill), They Won’t pay, We Won’t pay (Rice & Beans), and Look Back in Anger (Dir. Arthi Chandra). Her work is rooted in physical theatre, dance, and a desire to interrogate the boundaries of genre. Recent obsessions include tiny dances, ear trumpets, and spatial interventions.