Documentation Disappearance And The Representation Of Live Performance
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Documentation, Disappearance and the Representation of Live Performance by M. Reason Pdf
The documentation of practice is one of the principle concerns of performance studies. Focusing on contemporary performance practice and with emphasis on the transformative impact of video, photography and writing, this book explores the ideological, practical, and representational implications of knowing performance through its documentations.
Dance Matters Too by Pallabi Chakravorty,Nilanjana Gupta Pdf
Dance Matters Too: Markets, Memories, Identities is a rich intellectual contribution to the growing field of dance studies in India. It forges new avenues of scholarly inquiry and critical engagement and opens the field in innovative ways. This volume builds on Dance Matters (2009), which mapped the interdisciplinary breadth of the field. The chapters presented here continue to underline the uniqueness of a field that is a blend of critical scholarship on aesthetics and performance with the humanities and social sciences. Including diverse material, analytical approaches and perspectives from scholars and practitioners, this multidimensional volume explores debates on dance preservation and tradition in globalizing India, multimedia choreographies and the circulation of dance via electronic media, embodiment and memory, power, democracy and bourgeoning markets, classification and censorship, and corporatization and Bollywood. This tour de force will appeal to those in dance and performance studies, cultural studies, sociology as well as to readers interested in tradition, modernity, gender and globalization.
How Does Disability Performance Travel? by Christiane Czymoch,Kate Maguire Maguire-Rosier,Yvonne Schmidt Pdf
This edited collection investigates the myriad ways in which disability performance travels in a globalized world. Disability arts festivals are growing in different parts of the world; theatre and dance companies with disabled artists are increasingly touring and collaborating with international partners. At the same time, theatre spaces are often not accessible, and the necessity of mobility excludes some disabled artists from being part of an international disability arts community. How does disability performance travel, who does not travel – and why? What is the role of funding and producing structures, disability arts festivals, and networks around the world? How do the logics of international (co-)producing govern the way in which disability art is represented internationally? Who is excluded from being part of a touring theatre or dance company, and how can festivals, conferences, and other agents of a growing disability culture create other forms of participation, which are not limited to physical co-presence? This study will contextualize disability aesthetics, arts, media, and culture in a global frame, yet firmly rooted in its smaller national, state and local community settings and will be of great interest to students and scholars in the field.
Performing Folk Songs is the first full-length volume to explore English folk singing from the perspective of performance studies. Using archival sources, family repertoire and recorded performances of interviewees, this book argues that archives and repertoires are produced in sensory environments and through embodied encounters. Autoethnography, sensory ethnography, life-writing and landscape writing are used to explore the affective and emotional aspects of learning songs 'by heart'. Drawing on her experience as a folk singer, Bennett contributes to discourse on English folk traditions in the 21st century and brings performance scholarship to the contemporary folk song resurgence. In analyzing the performance of English folk songs in the affective context of the archive and the landscape, the book engages with and contributes original insights to scholarship on folk music, performance studies, affect theory, cultural geography and intangible cultural heritage studies.
Thinking Through Theatre and Performance by Maaike Bleeker,Adrian Kear,Joe Kelleher,Heike Roms Pdf
Thinking Through Theatre and Performance presents a bold and innovative approach to the study of theatre and performance. Instead of topics, genres, histories or theories, the book starts with the questions that theatre and performance are uniquely capable of asking: How does theatre function as a place for seeing and hearing? How do not only bodies and voices but also objects and media perform? How do memories, emotions and ideas continue to do their work when the performance is over? And how can theatre and performance intervene in social, political and environmental structures and frameworks? Written by leading international scholars, each chapter of this volume is built around a key performance example, and detailed discussions introduce the methodologies and theories that help us understand how these performances are practices of enquiry into the world. Thinking through Theatre and Performance is essential for those involved in making, enjoying, critiquing and studying theatre, and will appeal to anyone who is interested in the questions that theatre and performance ask of themselves and of us.
An innovative analysis of Simone Forti's interdisciplinary art, viewing her influential 1960s “dance constructions” as negotiating the aesthetic strategies of John Cage and Anna Halprin. Simone Forti's art developed within the overlapping circles of New York City's advanced visual art, dance, and music of the early 1960s. Her “dance constructions” and related works of the 1960s were important for both visual art and dance of the era. Artists Robert Morris and Yvonne Rainer have both acknowledged her influence. Forti seems to have kept one foot inside visual art's frames of meaning and the other outside them. In Soft Is Fast, Meredith Morse adopts a new way to understand Forti's work, based in art historical analysis but drawing upon dance history and cultural studies and the history of American social thought. Morse argues that Forti introduced a form of direct encounter that departed radically from the spectatorship proposed by Minimalism, and prefigured the participatory art of recent decades. Morse shows that Forti's work negotiated John Cage's ideas of sound, score, and theater through the unique approach to movement, essentially improvisational and grounded in anatomical exploration, that she learned from performer and teacher Ann (later Anna) Halprin. Attentive to Robert Whitman's and La Monte Young's responses to Cage, Forti reshaped Cage's concepts into models that could accommodate Halprin's charged spaces and imagined, interpenetrative understanding of other bodies. Morse considers Forti's use of sound and her affective use of materials as central to her work; examines Forti's text pieces, little discussed in art historical literature; analyzes Huddle, considered one of Forti's signature works; and explicates Forti's later improvisational practice. Forti has been relatively overlooked by art historians, perhaps because of her work's central concern with modes of feeling and embodiment, unlike other art of the 1960s, which was characterized by strategies of depersonalization and affectlessness. Soft Is Fast corrects this critical oversight.
The Routledge Companion to Theatre and Performance Historiography by Tracy C. Davis,Peter W. Marx Pdf
The Routledge Companion to Theatre and Performance Historiography sets the agenda for inclusive and wide-ranging approaches to writing history, embracing the diverse perspectives of the twenty-first century and Critical Media History. Written by an international team of authors whose expertise spans a multitude of historical periods and cultures, this collection of fascinating essays poses the central question: "what is specific to the historiography of the performative?" The study of theatre, in conjunction with the wider sphere of performance, involves an array of multi-faceted methods for collecting evidence, interpreting sources, and creating meaning. Reflecting on issues of recording — from early modern musical scores, through VHS-technology to latest digital procedures — and on what is missing from records or oblique in practices, the contributors convey how theatre and performance history is integral to social and cultural relations. This expertly curated collection repositions theatre and performance history and is essential reading for Theatre and Performance Studies students or those interested in social and cultural history more generally.
The Routledge Companion to Theatre and Performance by Paul Allain,Jen Harvie Pdf
What is theatre? What is performance? What connects them and how are they different? What events, people, practices and ideas have shaped theatre and performance in the twentieth and twenty-first century? The Routledge Companion to Theatre and Performance offers some answers to these big questions. It provides an analytical, informative and engaging introduction to important people, companies, events, concepts and practices that have defined the complementary fields of theatre and performance studies. This fully updated second edition contains three easy to use alphabetized sections including over 120 revised entries on topics and people ranging from performance artist Ron Athey, to directors Vsevold Meyerhold and Robert Wilson, megamusicals , postdramatic theatre and documentation. Each entry includes crucial historical and contextual information, extensive cross-referencing, detailed analysis and an annotated bibliography. The Routledge Companion to Theatre and Performance is a perfect reference guide for the keen student.
Contemporary Rehearsal Practice by Gary Cassidy Pdf
This book provides the first comprehensive study of Anthony Neilson’s unconventional rehearsal methodology. Neilson’s notably collaborative rehearsal process affords an unusual amount of creative input to the actors he works with and has garnered much interest from scholars and practitioners alike. This study analyses material edited from 100 hours of footage of the rehearsals of Neilson’s 2013 play Narrative at the Royal Court Theatre, as well as interviews with Neilson himself, the Narrative cast and actors from other Neilson productions. Replete with case studies, Gary Cassidy also considers the work of other relevant practitioners where appropriate, such as Katie Mitchell, Forced Entertainment, Joan Littlewood, Peter Brook, Complicite’s Simon McBurney, Stanislavski and Sarah Kane. Contemporary Rehearsal Practice will be of great interest to scholars, students and practitioners of theatre and performance and those who have an interest in rehearsal studies.
Most people agree that witnessing a live performance is not the same as seeing it on screen; however, most of the performances we experience are in recorded forms. Some aver that the recorded form of a performance necessarily distorts it or betrays it, focusing on the relationship between the original event and its recorded versions. By contrast, Reactivations focuses on how the audience experiences the performance, as opposed to its documentation. How does a spectator access and experience a performance from its documentation? What is the value of performance documentation? The book treats performance documentation as a specific discursive use of media that arose in the middle of the 20th century alongside such forms of performance as the Happening and that is different, both discursively and as a practice, from traditional theater and dance photography. Philip Auslander explores the phenomenal relationship between the spectator who experiences the performance from the document and the document itself. The document is not merely a secondary iteration of the original event but a vehicle that gives us meaningful access to the performance itself as an artistic work.
The Politics of Performing Shakespeare for Young People by Jan Wozniak Pdf
This book examines performance projects of Shakespeare's plays for young people in terms of their value for their young audiences. Using interviews with theatre workers and workshops with young people, the book argues that it is by trusting young people's experience of performances, rather than promoting a range of pre-determined textual understandings of the plays, that they might gain most benefit. It argues that by privileging the meanings young people make of Shakespeare, new and exciting interpretations of his work might be found.
Capter L'essence Du Spectacle by Nicole Leclercq,Kristy Davis,Laurent Rossion,Alan R. Jones Pdf
Le défi du patrimoine immatériel est de capturer l'essence du spectacle : l'idée de « capture » a cela d'intéressant qu'elle suppose que les professionnels impliqués dans la SIBMAS soient comme des chasseurs, sur la piste, de toutes sortes de façons, afin de coincer et de recueillir un petit quelque chose d'éphémère, qui en vaut la peine, et qui nous en apprend sur nous-mêmes et sur notre monde. Certains chasseurs se servent des bases de données, d'autres des écrits ou des images - mais tous partagent un même objectif : ne pas laisser se perdre un moment spécial, magique, que seule la vie du spectacle peut générer. The challenge of intangible heritage is to capture the essence of performance: the idea of capturing is interesting as it implies that the professionals, involved in SIBMAS, are on a hunt, a hunt in a number of different ways to pin down and preserve something ephemeral and something worth preserving, something that tells us more about ourselves and the world we live in. Some hunters use the database, some the written word, some the camera but all share a common goal: not to let go of a particular moment, a magic moment that only the live event can create.
Actors and Audiences explores the exchanges between those on and off the stage that fill the atmosphere with energy and vitality. Caroline Heim utilises the concept of "electric air" to describe this phenomenon and discuss the charge of emotional electricity that heightens the audience’s senses in the theatre. In order to understand this electric air, Heim draws from in-depth interviews with 79 professional audience members and 22 international stage and screen actors in the United Kingdom, United States, France and Germany. Tapping into the growing interest in empirical studies of the audience, this book documents experiences from three productions – The Encounter, Heisenberg and Hunger. Peer Gynt – to describe the nature of these conversations. The interviews disclose essential elements: transference, identification, projection, double consciousness, presence, stage fright and the suspension of disbelief. Ultimately Heim reveals that the heart of theatre is the relationship between those on- and off-stage, the way in which emotions and words create psychological conversations that pass through the fourth wall into an "in-between space," and the resulting electric air. A fascinating introduction to a unique subject, this book provides a close examination of actor and audience perspectives, which is essential reading for students and academics of Theatre, Performance and Audience Studies.