ABSTRACT
The female voice has been interpreted as having a key role in the primeval psychoanalytic scene, establishing a crucial bond between mother and child. It is not an easy task to resume the discussion about the female voice today when the binary opposition between genders has become obsolete and sounds like a mere memory from long ago. Feminist thinkers such as Julia Kristeva, Helen Cixous and Adriana Cavarero have further developed and asserted the female lineage of the voice, turning it into an essentialist opposition to language. The relationship between voice and composition is just the same as the one operating between a spoken and a written text in poetry and theatre; however, in the act of performance what matters are the peculiar qualities of a voice, its materiality. The conceptualisation of the voice is still rooted in a male cultural perspective.
