Liveness and mediatisation: the use of film and video in contemporary British theatre and performance
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
2012
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | VII, 365 S. |
Internformat
MARC
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Datensatz im Suchindex
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| adam_text | Contents
Acknowledgements
......................................................................................
vii
Introduction
................................................................................................1
1
(Inter-)Medialìty
.......................................................................................15
1.1
The Medium: A
Brief Definition
.............................................................15
1.2
Mediation and
Médiatisation...................................................................
24
1.3
What Lies beyond Mediation and
Médiatisation?
.......................................................26
1.4
Interaiediality
....................................................................................37
2
Drama, Theatre and (Inter-)Mediality
..............................................................60
2.1
Drama versus Theatre
...........................................................................60
2.2
Theatre and Its Relation to Technological and Electronic Media: A Brief
Historical Review
...............................................................................70
3
Liveness and
Médiatisation
in Theatre and Performance
........................................85
3.1
Simulation and the Loss of Liveness: Jean Baudrillard and Philip
Auslander.........85
3.2
Parameters of Liveness in Theatrical Performances
.......................................91
4
Liveness and
Médiatisation
in Contemporary British Theatre and Performance
............120
4.1
Uniqueness, Ephemerality and Disappearance
.............................................120
4.1.1
Forkbeard Fantasy: The Fall of the House of Usherettes
........................120
4.1.2
Mary Oliver: Wednesday, Wednesday; Never Work With Animals,
Children or Digital Characters
.....................................................
Л
29
4.1.3
Tim Etchells/Forced Entertainment: Instructions for Forgetting
...............133
4.1.4
Station House Opera: Roadmetal, Sweetbread; Mare s Nest
...................142
4.1.5
Gob Squad: Gob Squad
s
Kitchen
..................................................153
4.1.6
Proto-type Theatre: Virtuoso (working title)
......................................162
4.1.7
Interim Conclusion
...................................................................167
4.2
Presence and Corporeality
....................................................................170
4.2.1
Forkbeard Fantasy
:
The Fall of the House of Usherettes
........................170
4.2.2
Mary Oliver: Wednesday, Wednesday; Never Work With Animals,
Children or Digital Characters
......................................................173
4.2.3
Tim Etchells/Forced Entertainment: Instructions for Forgetting
...............178
4.2.4
Station House Opera: Roadmetal, Sweetbread; Mare s Nest
...................180
4.2.5
Gob Squad: The Great Outdoors; Room Service; Super Night Shot;
Prater Saga
3;
Gob Squad s Kitchen; Revolution Now!
.................................190
4.2.6
Proto-type Theatre: Virtuoso (working title)
.......................................208
4.2.7
Interim Conclusion
....................................................................211
4.3
Interaction and Audience Participation
......................................................215
4.3.1
Forkbeard Fantasy: The Fall of the House of Usherettes
.........................216
4.3.2
Mary Oliver: Wednesday, Wednesday; Never Work With Animals,
Children or Digital Characters
......................................................218
4.3.3
Tim Etchells/Forced Entertainment: Instructions for Forgetting
...............222
4.3.4
Station House Opera: Roadmetal, Sweetbread; Mare s Nest
...................226
4.3.5
Gob Squad: Room Service; Super Night Shot; Prater Saga
3;
King Kong Club; Gob Squad s Kitchen; Revolution Now!
.............................236
4.3.6
Proto-type Theatre: Virtuoso (working title)
.......................................249
4.3.7
Interim Conclusion
....................................................................253
4.4
Unpredictability, Imperfection and Failure
.................................................256
4.4.1
Forkbeard Fantasy: The Fall of the House of Usherettes
.........................256
4.4.2
Mary Oliver: Wednesday, Wednesday; Never Work With Animals,
Children or Digital Characters
.......................................................258
4.4.3
Tim Etchells/Forced Entertainment: Instructions for Forgetting
...............262
4.4.4
Station House Opera: Roadmetal, Sweetbread; Mare s Nest
...................265
4.4.5
Gob Squad: Super Night Shot; King Kong Club; Gob Squad s
Kitchen; Revolution Now!
...............................................................................268
4.4.6
Proto-type Theatre: Virtuoso (working title)
......................................276
4.4.7
Interim Conclusion
...................................................................279
4.5
Realism
..........................................................................................281
4.5.1
Forkbeard Fantasy: The Fall of the House of Usherettes
........................281
4.5.2
Mary Oliver: Wednesday, Wednesday; Never Work With Animals,
Children or Digital Characters
.......................................................289
4.5.3
Tim Etchells/Forced Entertainment: Instructions
f
or Forgetting
...............293
4.5.4
Station House Opera: Roadmetal, Sweetbread; Mare s Nest
...................299
4.5.5
Gob Squad: The Great Outdoors; Super Night Shot; Prater Saga
3;
King Kong Club; Gob Squad s Kitchen; Revolution Now!...,.
........................310
4.5.6
Proto-type Theatre: Virtuoso (working title)
.......................................332
4.5.7
Interim Conclusion
....................................................................337
Conclu sion
...............................................................................................340
Works Cited
.............................................................................................347
|
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| spelling | Georgi, Claudia Verfasser (DE-588)1047084228 aut Liveness and mediatisation the use of film and video in contemporary British theatre and performance von Claudia Georgi 2012 VII, 365 S. txt rdacontent n rdamedia nc rdacarrier Göttingen, Univ., Diss., 2012 Geschichte 1995-2012 gnd rswk-swf Intermedialität (DE-588)4605581-2 gnd rswk-swf Theater (DE-588)4059702-7 gnd rswk-swf Großbritannien (DE-588)4022153-2 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Großbritannien (DE-588)4022153-2 g Theater (DE-588)4059702-7 s Intermedialität (DE-588)4605581-2 s Geschichte 1995-2012 z DE-604 Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027060605&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Georgi, Claudia Liveness and mediatisation the use of film and video in contemporary British theatre and performance Intermedialität (DE-588)4605581-2 gnd Theater (DE-588)4059702-7 gnd |
| subject_GND | (DE-588)4605581-2 (DE-588)4059702-7 (DE-588)4022153-2 (DE-588)4113937-9 |
| title | Liveness and mediatisation the use of film and video in contemporary British theatre and performance |
| title_auth | Liveness and mediatisation the use of film and video in contemporary British theatre and performance |
| title_exact_search | Liveness and mediatisation the use of film and video in contemporary British theatre and performance |
| title_full | Liveness and mediatisation the use of film and video in contemporary British theatre and performance von Claudia Georgi |
| title_fullStr | Liveness and mediatisation the use of film and video in contemporary British theatre and performance von Claudia Georgi |
| title_full_unstemmed | Liveness and mediatisation the use of film and video in contemporary British theatre and performance von Claudia Georgi |
| title_short | Liveness and mediatisation |
| title_sort | liveness and mediatisation the use of film and video in contemporary british theatre and performance |
| title_sub | the use of film and video in contemporary British theatre and performance |
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| topic_facet | Intermedialität Theater Großbritannien Hochschulschrift |
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