Performance perspectives: a critical introduction
This critical introduction to Performance Studies provides undergraduates with an accessible way into terminology and context. Using a tripartite structure that combines the voices of artists, critics and teachers, it addresses a variety of practices moving through body, space, time, technology, int...
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Palgrave Macmillan
2011
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| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | This critical introduction to Performance Studies provides undergraduates with an accessible way into terminology and context. Using a tripartite structure that combines the voices of artists, critics and teachers, it addresses a variety of practices moving through body, space, time, technology, interactivity and organization |
| Beschreibung: | Includes bibliographical references (p. 207-218) and index |
| Beschreibung: | XX, 244 S. Ill. |
| ISBN: | 9780230243460 9780230243453 |
Internformat
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Datensatz im Suchindex
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| adam_text | Performance
Perspectives
A Critical Introduction
Edited by
Jonathan Pitches and Sita Popat
Foreword by MickWallis
macmillan
Contents
List of Illustrations, Figures and Tables x
Notes on Contributors xi
Foreword by Mick Wallis xvii
Acknowledgements xx
Chapter I Introduction I
Jonathan Pitches
Performance perspectives I
Rorth Bench 5
Summary 13
Chapter summaries 14
Activities 17
Further reading 19
Chapter 2 Body 20
Introduced and edited by Anna Fenemore
Introduction 20
Any body? The multiple bodies of the performer
Victor Ramirez Ladron de Guevara
The textual body
The lived body
The ecstatic (or fleshly) body
The recessive (or visceral) body
The unnatural body
The imagined body
Some body and no body: the body of a performer
Wendy Houston
Some body
No body
A somebody or a nobody
The at risk body
The ageing body
Contents
2 3 Every body: performance s other bodies
Anna Fenemore
Some bodies observed
The spectating body
The social body
The uncomfortable body
The absent body
The transformed body
The irreplaceable body
Activities
Further reading
Chapter 3 Space 52
Introduced and edited by Scott Palmer
Introduction 52
3 1 Event-space: performance space and spatial
performativity 54
Dorita Hannah
Performing space 54
Event-space and spatial events 55
The end of illusion 57
The empty space 58
Disciplinary manoeuvres 59
Presencing architecture 61
3 2 Scenographic space and place 63
Louise Ann Wilson in conversation with Scott Palmer
3 3 Audience space/scenographic space 74
Scott Palmer
Performance space and the audience 74
Performance place and scenographic space 78
The empty space and the performer 81
Activities 84
Further reading 87
Chapter 4 Time 88
Introduced and edited by Tony Gardner
Introduction 88
c Contents
4 1 Theatre, technology and time 89
Steve Dixon
Postmodern time 90
Extratemporality 92
Freezing time 93
Conclusion time 96
4 2 Ghost Dance: t ime and duration in the work of
Lone Twin 98
Gregg Whelan in conversation with Tony Gardner
4 3 The lives and times of performance 103
Tony Gardner
The unique connection between performance and time 103
Antony Gormley and the Fourth Plinth 105
Grasping time 106
Conclusion 108
Activities I 10
Further reading I 13
Chapter 5 Technology 114
Introduced and edited by Sita Popat
Introduction I 14
5 1 Gaming and performance: narrative and identity I 15
Jessica Wood
Computer games as drama I 16
Self-representation and the avatar I 17
Being there, doing that 119
The fourth wall 120
Conclusion 121
5 2 SwanQuake: House - messing the system up 123
Sita Popat
SwanQuake: House: A personal experience (Sita Popat) 123
Interview with Ruth Gibson and Bruno Martelli 126
5 3 Performance and technology: the myth of
disembodiment 132
Sita Popat
Introduction 132
Cyberspace 133
Touching with my eyes 134
Liveness 137
Contents
Is any body out there? 138
Conclusion 140
Activities 142
Further reading 145
Chapter 6 Interactivity 146
Introduced and edited by Alice O Grady
Introduction 146
Two perspectives on interaction 146
6 1 Boalian perspectives on interactivity in theatre 148
John Somers
Introduction 148
The real and the fictional 148
What kinds of interactivity are there? 149
What does the audience contribute? 151
What are the challenges for the actors? 154
The need for closure and for support post-event 155
Conclusion 155
6 2 Interactivity and the work of Blast Theory 158
Matt Adams in conversation with Alice O Grady
6 3 Interactivity: functions and risks 165
Alice O Grady
Interactivity and performance 166
Interactive performance is always incomplete 168
Interactivity in practice 169
Spaces of interactivity 171
Conclusion 172
Activities 173
Further reading 175
Chapter 7 Organization 176
Introduced and edited by Calvin Taylor
Introduction 176
7 1 Performance, culture, industry 180
Ralph Brown
Value, assets and returns 181
Communities of practice 183
Conclusion 185
( Contents
7 2 Organizational agility and improvisation 187
Teo Greenstreet
7 3 Performance, organization, theory 191
Calvin Taylor
The machine metaphor 194
Organization as organism 195
Organization as network 197
Activities 199
Further reading 201
Chapter 8 Epilogue 202
Jonathan Pitches
Bibliography 207
Index 219
List of Illustrations, Figures and Tables
Illustrations
I I Borth Bench 8
2 1 Wendy s Body 38
3 1 House (1998) created and produced by wilson+wilson (montage I) 68
3 2 House (1998) created and produced by wilson+wilson (montage 2) 69
3 3 Mulgrave (2005) created and produced by wilson+wilson 72
3 4 The final moments of Mulgrave (2005) 79
4 1 Uninvited Guests Film (2000) 94
5 1 SwanQuake: House (2008) Computer installation with sound,
V22 Gallery London Dancers in the heaven room 124
5 2 SwanQuake: House (2008) Computer installation with sound,
V22 Gallery London The texture-mapped room 125
5 3 SwanQuake: House (2008) Computer installation with sound,
V22 Gallery London The dressing table with trackball and two
buttons 129
5 4 Telematic Dreaming by Paul Sermon 136
6 1 Engaging with the audience 156
6 2 Rider Spoke (2007) by Blast Theory in collaboration with the Mixed
Reality Lab, University of Nottingham 163
6 3 Can You See Me Now? (2001) by Blast Theory in collaboration with
the Mixed Reality Lab, University of Nottingham 164
Figures
3 1 Sacred space (after Mackintosh) [Copyright: Scott Palmer] 76
8 1 Concentric circles model of performance perspectives 203
8 2 Flower model of performance perspectives 205
Tables
3 1 Spacing behaviour (after Hall 1959, 1966) 83
7 1 Modernist and postmodernist organizations compared 194
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| spelling | Performance perspectives a critical introduction ed. by Jonathan Pitches ... 1. publ. New York Palgrave Macmillan 2011 XX, 244 S. Ill. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references (p. 207-218) and index This critical introduction to Performance Studies provides undergraduates with an accessible way into terminology and context. Using a tripartite structure that combines the voices of artists, critics and teachers, it addresses a variety of practices moving through body, space, time, technology, interactivity and organization Performing arts Schauspielkunst (DE-588)4129090-2 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Schauspielkunst (DE-588)4129090-2 s DE-604 Pitches, Jonathan edt HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024795982&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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