Shakespeare, spectatorship and the technologies of performance:
"Shakespeare, Spectatorship and Technologies of Performance examines how rapid changes in performance technologies affect modes of spectatorship for early modern drama. It argues that seemingly disparate developments - such as the revival of early modern architectural and lighting technologies,...
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| Format: | Book |
| Language: | English |
| Published: |
Cambridge
Cambridge University Press
2020
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Summary: | "Shakespeare, Spectatorship and Technologies of Performance examines how rapid changes in performance technologies affect modes of spectatorship for early modern drama. It argues that seemingly disparate developments - such as the revival of early modern architectural and lighting technologies, digital performance technologies and the hybrid medium of theatre broadcast - are fundamentally related. How spectators experience performances is not only affected in medium-specific ways by particular technologies, but is also connected to the plays' roots in early modern performance environments. Aebischer's examples range from the use of candlelight and re-imagined early modern architecture, to set design, performance capture technologies, digital video, social media, hologram projection, biotechnologies and theatre broadcasts. This book argues that digital and analogue performance technologies alike activate modes of ethical spectatorship, requiring audiences to adopt an ethical standpoint as they decide how to look, where to look, what medium to look through, and how to take responsibility for looking"-- |
| Physical Description: | xv, 242 Seiten Illustrationen |
| ISBN: | 9781108420488 1108420486 |
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| 505 | 8 | |a Dominic Dromgoole's The changeling (2015) : social division and anamorphic vision -- Dominic Dromgoole's The tempest (2016) : labour, technology and the gender of theatrical magic -- Stanislavski in the closet : Joe Hill-Gibbins' Edward II (National Theatre, 2013) -- 'Tech-enabled' theatre at the RSC : digital performance and Gregory Doran's Tempest (RSC, 2016) -- Hamlet in parts : Robin Lough's RSC live cinema broadcast of Simon Godwin's Hamlet (8 June 2016) -- Offstage dynamics and the virtual public sphere in Cheek by jowl's live stream of Measure for measure (2015) -- Concluding most obscenely: Offstage technophelias | |
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Record in the Search Index
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| adam_text | Contents List of Figures List of Tables Acknowledgements How to Read This Book Introduction: Shakespeare, Spectatorship and the Technologies of Performance Theories of Theatrical Co-presence and Technologies of Performance A Spatial Theory of Technologically Mediated Spectatorship for Early Modern Drama: Locus, PLtea and Offstage Obscenity The PUtea and the Oflstage in the Digital Age Shakespeare, Spectatorship and the Technologies of Performance page vii x xi xv i 3 12 20 28 PART I CANDLELIGHT AND ARCHITECTURE AT THE SAM WANAMAKER PLAYHOUSE 1 36 Dominic Dromgoole’s The Changeling (го if: Social Division and Anamorphic Vision 51 (In)visible Labour and the Discovery Space Anamorphic Sex in the Closet z 33 Being ‘True to the Architecture’ of a Jacobean ‘Smart Space’: Access, Physical Regimes and Enskilling the Audience Dominic Dromgoole’s The Tempest (2016): Labour, Technology and the Gender of Theatrical Magic Perspectivai Magic and the Model Spectator: Prospero’s Tempest ‘Feeling-Technologies’ and the Upper Gallery: Ariel’s Tempest Backstage Technicians and Eccentric Lords: The Tempest as Technical Labour 56 60 66 68 76 7p
vi Contents PART II DIGITAL TECHNOLOGIES AND EARLY MODERN DRAMA AT THE NATIONAL THEATRE AND THE RSC 3 Stanislavski in the Closet: Joe Hill-Gibbins’ Edward II (National Theatre, 2013) The Changeling as ‘Stressor: Obscene Dramaturgy and Stanislavski’s ‘Backstortes’ The Torture Live Cam: The Voyeuristic Violence of Subject Technologies 4 ‘Tech-Enabled’ Theatre at the RSC: Digital Performance and Gregory Doran’s Tempest(RSC,20 ւճ) Digital Innovation and Social Media Performances at the RSC: Such Tweet Sorrow (2010), A Midsummer Night’s Dreaming (2013) and Volpone (2015) ‘Future Practices’ at the RSC: Gregory Doran’s ‘Tech-Enabled’ Tempest {гоїв) Enter the Cyborg Enter the Body Face-to-Face with the Cyborg:The Crisisof Tech-Enabled Theatre Coda: From Live Performance to Archive 85 89 89 100 io8 108 119 124 129 137 144 PART III ‘invisible’ TECHNOLOGY AND ‘LIVENESS’ IN DIGITAL THEATRE BROADCASTING 5 Hamlet in Parts: Robin Lough’s RSC Live Cinema Broadcast of Simon Godwin’s Hamlet(8 June 2016) 137 Broadcast-as-Performance: Context, Geopolitical‘Backstory’ and Process Hamlet in Parts: Telling the Story for a Cinema Audience Technologies of Race: Unconscious Bias in Camera Design and Lighting 6 I49 Offstage Dynamics and the Virtual Public Sphere in Cheek by Jowl’s Live Stream of Measure for Measure (2013) Control, Response-Ability and the Virtual Public Sphere Framing and Re-framing Isabella in the Technological Setup of the Live Stream 137 164 180 191 192 199 Concluding Most Obscenely: Offstage Technophelias 207 Bibliography Index 219 23 6
Shakespeare, Spectatorship and Technologies of Per formance examines how rapid changes in performance technologies affect modes of spectatorship for early modern drama. It argues that seemingly disparate developments ֊ such as the revival of early modern architectural and lighting technologies, digital performance technologies and the hybrid medium of theatre broadcast - are fundamentally related. How spectators experience performances is not only affected in medium-specific ways by particular technologies but is also connected to the plays’ roots in earl}՜ modern performance environments. Aebischer’s examples range from the use of candlelight and re-imagined early modern architecture, to set design, performance capture technologies, digital video, social media, hologram projection, biotechnologies and theatre broadcasts. This book argues that digital and analogue performance technologies alike activate modes of ethical spectatorship, requiring audiences to adopt an ethical standpoint as they decide how to look, where to look, what medium to look through, and how to take responsibility for looking.
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| adam_txt |
Contents List of Figures List of Tables Acknowledgements How to Read This Book Introduction: Shakespeare, Spectatorship and the Technologies of Performance Theories of Theatrical Co-presence and Technologies of Performance A Spatial Theory of Technologically Mediated Spectatorship for Early Modern Drama: Locus, PLtea and Offstage Obscenity The PUtea and the Oflstage in the Digital Age Shakespeare, Spectatorship and the Technologies of Performance page vii x xi xv i 3 12 20 28 PART I CANDLELIGHT AND ARCHITECTURE AT THE SAM WANAMAKER PLAYHOUSE 1 36 Dominic Dromgoole’s The Changeling (го if: Social Division and Anamorphic Vision 51 (In)visible Labour and the Discovery Space Anamorphic Sex in the Closet z 33 Being ‘True to the Architecture’ of a Jacobean ‘Smart Space’: Access, Physical Regimes and Enskilling the Audience Dominic Dromgoole’s The Tempest (2016): Labour, Technology and the Gender of Theatrical Magic Perspectivai Magic and the Model Spectator: Prospero’s Tempest ‘Feeling-Technologies’ and the Upper Gallery: Ariel’s Tempest Backstage Technicians and Eccentric Lords: The Tempest as Technical Labour 56 60 66 68 76 7p
vi Contents PART II DIGITAL TECHNOLOGIES AND EARLY MODERN DRAMA AT THE NATIONAL THEATRE AND THE RSC 3 Stanislavski in the Closet: Joe Hill-Gibbins’ Edward II (National Theatre, 2013) The Changeling as ‘Stressor: Obscene Dramaturgy and Stanislavski’s ‘Backstortes’ The Torture Live Cam: The Voyeuristic Violence of Subject Technologies 4 ‘Tech-Enabled’ Theatre at the RSC: Digital Performance and Gregory Doran’s Tempest(RSC,20 ւճ) Digital Innovation and Social Media Performances at the RSC: Such Tweet Sorrow (2010), A Midsummer Night’s Dreaming (2013) and Volpone (2015) ‘Future Practices’ at the RSC: Gregory Doran’s ‘Tech-Enabled’ Tempest {гоїв) Enter the Cyborg Enter the Body Face-to-Face with the Cyborg:The Crisisof Tech-Enabled Theatre Coda: From Live Performance to Archive 85 89 89 100 io8 108 119 124 129 137 144 PART III ‘invisible’ TECHNOLOGY AND ‘LIVENESS’ IN DIGITAL THEATRE BROADCASTING 5 Hamlet in Parts: Robin Lough’s RSC Live Cinema Broadcast of Simon Godwin’s Hamlet(8 June 2016) 137 Broadcast-as-Performance: Context, Geopolitical‘Backstory’ and Process Hamlet in Parts: Telling the Story for a Cinema Audience Technologies of Race: Unconscious Bias in Camera Design and Lighting 6 I49 Offstage Dynamics and the Virtual Public Sphere in Cheek by Jowl’s Live Stream of Measure for Measure (2013) Control, Response-Ability and the Virtual Public Sphere Framing and Re-framing Isabella in the Technological Setup of the Live Stream 137 164 180 191 192 199 Concluding Most Obscenely: Offstage Technophelias 207 Bibliography Index 219 23 6
Shakespeare, Spectatorship and Technologies of Per formance examines how rapid changes in performance technologies affect modes of spectatorship for early modern drama. It argues that seemingly disparate developments ֊ such as the revival of early modern architectural and lighting technologies, digital performance technologies and the hybrid medium of theatre broadcast - are fundamentally related. How spectators experience performances is not only affected in medium-specific ways by particular technologies but is also connected to the plays’ roots in earl}՜ modern performance environments. Aebischer’s examples range from the use of candlelight and re-imagined early modern architecture, to set design, performance capture technologies, digital video, social media, hologram projection, biotechnologies and theatre broadcasts. This book argues that digital and analogue performance technologies alike activate modes of ethical spectatorship, requiring audiences to adopt an ethical standpoint as they decide how to look, where to look, what medium to look through, and how to take responsibility for looking. |
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| contents | Dominic Dromgoole's The changeling (2015) : social division and anamorphic vision -- Dominic Dromgoole's The tempest (2016) : labour, technology and the gender of theatrical magic -- Stanislavski in the closet : Joe Hill-Gibbins' Edward II (National Theatre, 2013) -- 'Tech-enabled' theatre at the RSC : digital performance and Gregory Doran's Tempest (RSC, 2016) -- Hamlet in parts : Robin Lough's RSC live cinema broadcast of Simon Godwin's Hamlet (8 June 2016) -- Offstage dynamics and the virtual public sphere in Cheek by jowl's live stream of Measure for measure (2015) -- Concluding most obscenely: Offstage technophelias |
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| discipline | Anglistik / Amerikanistik |
| discipline_str_mv | Anglistik / Amerikanistik |
| era | Geschichte 2013-2016 gnd Geschichte 1580-1630 gnd |
| era_facet | Geschichte 2013-2016 Geschichte 1580-1630 |
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| illustrated | Illustrated |
| index_date | 2024-07-03T14:32:36Z |
| indexdate | 2024-07-10T08:51:56Z |
| institution | BVB |
| isbn | 9781108420488 1108420486 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032127832 |
| oclc_num | 1159279976 |
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| physical | xv, 242 Seiten Illustrationen |
| publishDate | 2020 |
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| publisher | Cambridge University Press |
| record_format | marc |
| spelling | Aebischer, Pascale 1970- Verfasser (DE-588)139136770 aut Shakespeare, spectatorship and the technologies of performance Pascale Aebischer Cambridge Cambridge University Press 2020 xv, 242 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Dominic Dromgoole's The changeling (2015) : social division and anamorphic vision -- Dominic Dromgoole's The tempest (2016) : labour, technology and the gender of theatrical magic -- Stanislavski in the closet : Joe Hill-Gibbins' Edward II (National Theatre, 2013) -- 'Tech-enabled' theatre at the RSC : digital performance and Gregory Doran's Tempest (RSC, 2016) -- Hamlet in parts : Robin Lough's RSC live cinema broadcast of Simon Godwin's Hamlet (8 June 2016) -- Offstage dynamics and the virtual public sphere in Cheek by jowl's live stream of Measure for measure (2015) -- Concluding most obscenely: Offstage technophelias "Shakespeare, Spectatorship and Technologies of Performance examines how rapid changes in performance technologies affect modes of spectatorship for early modern drama. It argues that seemingly disparate developments - such as the revival of early modern architectural and lighting technologies, digital performance technologies and the hybrid medium of theatre broadcast - are fundamentally related. How spectators experience performances is not only affected in medium-specific ways by particular technologies, but is also connected to the plays' roots in early modern performance environments. Aebischer's examples range from the use of candlelight and re-imagined early modern architecture, to set design, performance capture technologies, digital video, social media, hologram projection, biotechnologies and theatre broadcasts. This book argues that digital and analogue performance technologies alike activate modes of ethical spectatorship, requiring audiences to adopt an ethical standpoint as they decide how to look, where to look, what medium to look through, and how to take responsibility for looking"-- Geschichte 2013-2016 gnd rswk-swf Geschichte 1580-1630 gnd rswk-swf Englisch (DE-588)4014777-0 gnd rswk-swf Aufführung (DE-588)4143388-9 gnd rswk-swf Bühnentechnik (DE-588)4146863-6 gnd rswk-swf Drama (DE-588)4012899-4 gnd rswk-swf Shakespeare, William / 1564-1616 / Dramatic production Shakespeare, William / 1564-1616 / Stage history / 21st century Theater / Production and direction / Technological innovations Theater audiences / Effect of technological innovations on Technology and the arts Shakespeare, William / 1564-1616 Theater 2000-2099 Englisch (DE-588)4014777-0 s Drama (DE-588)4012899-4 s Geschichte 1580-1630 z Aufführung (DE-588)4143388-9 s Bühnentechnik (DE-588)4146863-6 s Geschichte 2013-2016 z DE-604 Erscheint auch als Online-Ausgabe Aebischer, Pascale Shakespeare, spectatorship and the technologies of performance 978-1-108-33900-1 Cambridge ; New York, NY : Cambridge University Press, 2020 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=032127832&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 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=032127832&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Aebischer, Pascale 1970- Shakespeare, spectatorship and the technologies of performance Dominic Dromgoole's The changeling (2015) : social division and anamorphic vision -- Dominic Dromgoole's The tempest (2016) : labour, technology and the gender of theatrical magic -- Stanislavski in the closet : Joe Hill-Gibbins' Edward II (National Theatre, 2013) -- 'Tech-enabled' theatre at the RSC : digital performance and Gregory Doran's Tempest (RSC, 2016) -- Hamlet in parts : Robin Lough's RSC live cinema broadcast of Simon Godwin's Hamlet (8 June 2016) -- Offstage dynamics and the virtual public sphere in Cheek by jowl's live stream of Measure for measure (2015) -- Concluding most obscenely: Offstage technophelias Englisch (DE-588)4014777-0 gnd Aufführung (DE-588)4143388-9 gnd Bühnentechnik (DE-588)4146863-6 gnd Drama (DE-588)4012899-4 gnd |
| subject_GND | (DE-588)4014777-0 (DE-588)4143388-9 (DE-588)4146863-6 (DE-588)4012899-4 |
| title | Shakespeare, spectatorship and the technologies of performance |
| title_auth | Shakespeare, spectatorship and the technologies of performance |
| title_exact_search | Shakespeare, spectatorship and the technologies of performance |
| title_exact_search_txtP | Shakespeare, spectatorship and the technologies of performance |
| title_full | Shakespeare, spectatorship and the technologies of performance Pascale Aebischer |
| title_fullStr | Shakespeare, spectatorship and the technologies of performance Pascale Aebischer |
| title_full_unstemmed | Shakespeare, spectatorship and the technologies of performance Pascale Aebischer |
| title_short | Shakespeare, spectatorship and the technologies of performance |
| title_sort | shakespeare spectatorship and the technologies of performance |
| topic | Englisch (DE-588)4014777-0 gnd Aufführung (DE-588)4143388-9 gnd Bühnentechnik (DE-588)4146863-6 gnd Drama (DE-588)4012899-4 gnd |
| topic_facet | Englisch Aufführung Bühnentechnik Drama |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032127832&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032127832&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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