This article aims to question the deep-rooted belief of the performer as the only bearer, and distributor of the voice in and for the performing arts, and in this way to tighten the idea of the voice as a logocentric production, exclusively ascribed to the human body in the configuration of dramaturgy and scenic narratives. Questions about how to identify/produce diverse host sources of voice in and for the stage, and to what extent and in what way to question in the construction of stage narratives which means to be an agent capable of vibrating and producing voice? They are useful to me, to raise an idea of the affective agency of the vocal, under a distribution model that unfolds in listening. A fact that pays attention to what or who receives its sounding over what or who produces it. To this end, the relationship between the voice and the body is approached through a dilated conception of the latter, which includes all matter (organic and inorganic) as a vibrant vitality, nominated under the idea of body-matter. This is concretely situated in the performance " In chorus we speak to you because no one can do it by itself", whose example and breakdown help to understand the ideas presented.