Alicia Jane Turner is a London based composer, sound designer, violinist and performance artist whose work spans live art, contemporary theatre, and new classical music.
Her practice focuses on the visceral affectivity of sound and live music in interdisciplinary performance, using composition and immersive sound design to explore the relationship between the internal and external body. Her compositions fuse the textures of noise music and ambient minimalism with classical instrumentation and electronics, to create dissonant and intricately layered pieces. In her work and research she interrogates the gendered politics of listening, silence and noise, using sound to ask questions about physicality, identity and intimacy.
Alicia has been an ongoing collaborator with theatre-maker Christopher Brett Bailey since 2014, composing and performing the music in his two critically claimed productions This Is How We Die and Kissing The Shotgun Goodnight which have toured across the UK and internationally in venues including The Almeida, Battersea Arts Centre, Ovalhouse, Brighton Dome and festivals including Edinburgh Fringe, Sydney Festival and Progress Festival (Toronto). She premiered her first solo theatre piece Breathe (Everything Is Going To Be Okay) at SPILL Festival 2016, which has since been performed at venues including Camden People’s Theatre, The Lowry and Rich Mix. Other recent theatre collaborations include composition and sound design for Louise Orwin’s OH YES OH NO and Ginger Johnson’s How To Catch a Krampus. Recent experimental classical music works include solo performances at venues including The Yard, vFd and Radar (Denmark), collaborating with the NYX Electronic Drone Choir, performing violin on Dead Light’s debut album, and she is currently developing a new work commissioned by Spitalfields Music and Rich Mix. She was a composition fellow at the 2018 Bang on a Can Summer Festival in the US where her new ensemble compositions were premiered.