This books draws on the history of ideas to present a concept of intermediality as an integration of thoughts and medial processes and it locates intermediality at the inter-sections situated between the performers, the observers and the ...
Author: Freda Chapple
Intermediality : The incorporation of digital technology into theatre practice, and the presence of film, television and digital media in contemporary theatre is a significant feature of twentieth-century performance. Presented here for the first time is a major collection od essays written by The Theatre and Intermediality research Group of the International Federation for Theatre research. This books draws on the history of ideas to present a concept of intermediality as an integration of thoughts and medial processes and it locates intermediality at the inter-sections situated between the performers, the observers and the confluence of media, medial spaces and art forms involved in performance at a particular monent in time.
This insightful book explores the relationship between theater and digital culture.
Author: Sarah Bay-Cheng
Publisher: Amsterdam University Press
This insightful book explores the relationship between theater and digital culture. The authors show that the marriage of traditional performance with new technologies leads to an upheaval of the implicit “live” quality of theatre by introducing media interfaces and Internet protocols, all the while blurring the barriers between theater-makers and their audience.
Intermedial Challenges in Contemporary British Theatre and Performance
Claudia Georgi ... Instead of applying an intertextual reading to the relation
between drama and theatre, their distinct semiotic and medial nature rather
suggests an ...
Author: Claudia Georgi
Publisher: Walter de Gruyter GmbH & Co KG
Theatre is traditionally considered a live medium but its ‘liveness’ can no longer simply be taken for granted in view of the increasing mediatisation of the stage. Drawing on theories of intermediality,Liveness on Stageexplores how performances that incorporate film or video self-reflexively stage and challenge their own liveness by contrasting or approximating live and mediatised action. To illustrate this, the monograph investigates key aspects such as ‘ephemerality’, ‘co-presence’, ‘unpredictability’, ‘interaction’ and ‘realistic representation’ and highlights their significance for re-evaluating received notions of liveness. The analysis is based on productions by Gob Squad, Forkbeard Fantasy, Station House Opera, Proto-type Theater, Tim Etchells and Mary Oliver. In their playful approaches these practitioners predominantly present such media combination as a means of cross-fertilisation rather than as an antagonism between liveness and mediatisation. Combining an original theoretical approach with an in-depth analysis of the selected productions, this study will appeal to scholars and practitioners of theatre and performance as well as to those researching intermedial phenomena.
In terms of the function of the new media in theatre (i.e., the intermedial- ity of a
theatrical performance), the first ... a basic difference can be found between the
interplay of different art forms in a theatrical performance and its intermediality.
Author: Erika Fischer-Lichte
Publisher: University of Iowa Press
Theatre, in some respects, resembles a market. Stories, rituals, ideas, perceptive modes, conversations, rules, techniques, behavior patterns, actions, language, and objects constantly circulate back and forth between theatre and the other cultural institutions that make up everyday life in the twentieth century. These exchanges, which challenge the established concept of theatre in a way that demands to be understood, form the core of Erika Fischer-Lichte's dynamic book. Each eclectic essay investigates the boundaries that separate theatre from other cultural domains. Every encounter between theatre and other art forms and institutions renegotiates and redefines these boundaries as part of an ongoing process. Drawing on a wealth of fascinating examples, both historical and contemporary, Fischer-Lichte reveals new perspectives in theatre research from quite a number of different approaches. Energetically and excitingly, she theorizes history, theorizes and historicizes performance analysis, and historicizes theory.
This volume is a collection of scholarly articles and interviews with intermedial artists working with the concepts of public sphere at the intersection of aesthetics and politics.
Author: Katia Arfara
This volume is a collection of scholarly articles and interviews with intermedial artists working with the concepts of public sphere at the intersection of aesthetics and politics. It explores the response of socially-engaged artistic practices to the current crisis in politics and media. It also critically examines urgent issues such as rampant nationalism and populism, expanding neoliberalism, the refugee crisis, growing inosculations of corporate and cyber culture, and the ongoing geopolitical changes in the Middle East. Can intermedial performances reflect the present artistic and political dilemmas in Europe and beyond? The collection provides theoretical frameworks that interrogate the role that spectators as citizens can play in our mediatized world while focusing on the functions of immersion, participation, and civic engagement in contemporary performance and society. The collection provides analyses by international scholars from Europe, Asia, and the USA, covering global performance created in the twenty-first century. It also introduces interviews with internationally acclaimed intermedial artists and companies such as BERLIN, Rimini Protokoll, Dries Verhoeven, Akira Takayama, and Kris Verdonck.
As we saw in the previous chapter, the uses of audio-visual technologies in
theatre practice tend to fall into two very basic ... In this task we are guided by the
recently published anthology Intermediality in Theatre and Performance edited
Author: Rosemary Klich
Publisher: Macmillan International Higher Education
How do performers and artists use media technologies to create live events? How have developments in audio-visual technology changed the relationship between the spectator and the performer? How can performance respond to the technology-saturated consciousness of contemporary culture? What are the key concepts and terms needed to understand multimedia performance? Multimedia Performance provides a comprehensive overview of the development, theory and definitive characteristics of this rapidly developing and popular area of practice. Drawing on case studies from across a wide range of contemporary performance, the book introduces key artists, companies and debates. Klich and Scheer describe new and emergent forms including video performance, digital theatre, interactive dramaturgies and immersive environments, presenting an up-to-date analysis of the evolving relationship between technology and aesthetics in contemporary performance culture. Exploring the different ways in which technology can activate new aesthetic potentials and audience experiences, Multimedia Performance demonstrates the vital role of multimedia technologies in contemporary theatre practice. Supported by illustrations, media theory and textboxes, this is important reading for anyone interested in questions of the live and the mediated aspects of performance, and essential reading for students of theatre and performance.
This book develops media archaeological approaches to theatre and intermediality. As an age-old art form, theatre has always embraced ‘new’ media.
Author: Nele Wynants
This book develops media archaeological approaches to theatre and intermediality. As an age-old art form, theatre has always embraced ‘new’ media. To create theatrical effects and optical illusions, theatre makers were ready to integrate state-of-the-art technics and technologies, and by doing so they playfully explored and popularized scientific knowledge on mechanics, optics and sound for live audiences. This book highlights this obvious but often overlooked relation between media developments and the history of intermedial theater. By considering the interplay between present intermedial performances and their archaeological traces, the authors assembled here revisit old and often forgotten media approaches and theatre technologies. This archaeology is understood less as the discovery of a forgotten past than as the establishment of an active relationship between past and present. Rather than treating archaeological remains as representative tokens of a fragmented past that need to be preserved, the authors stress the return of the past in the present, but in a different, performative guise.
Intermediality and Spectatorship in the Theatre Work of Robert Lepage bridges this gap by exploring the notion that intermediality – observed both as a mise-en-scene strategy and a perceptual effect in performance – is situated at the ...
Author: Aristita I. Albacan
Publisher: Cambridge Scholars Publishing
Robert Lepage has imposed himself in the past three decades as a Wunderkind of contemporary theatre, with eagerly awaited and widely acclaimed productions at the most prestigious theatre festivals and venues around the world. Soon after his international breakthrough with The Dragon’s Trilogy (1984), Lepage’s work became an object of particular scrutiny for critics and scholars, and continues to be subject to media exposure, inspiring cultural critique, academic study and the admiration of audiences across the world. A recurrent fascination with the formal novelty of his theatrical approach imbues most, if not all, critical considerations. However, in spite of the wide interest provoked, little space has been devoted to the quintessential impact of his work on spectatorship, and, most importantly, to connecting the dots between his creative practice and its substantial impact on audiences. Intermediality and Spectatorship in the Theatre Work of Robert Lepage bridges this gap by exploring the notion that intermediality – observed both as a mise-en-scene strategy and a perceptual effect in performance – is situated at the core of the director’s approach. This approach is situated in direct relation to the evolving expectations and medial competencies of spectators, demonstrating an in-depth understanding of the ways in which different media can be engaged in the creative process in a holistic way in order to alter the regime of spectatorship, to enhance its creative and cognitive potential. Lepage’s work and theatre making process are analysed here from an interdisciplinary perspective that combines theatre, media and cultural studies, and which is applied to his solo shows, namely Vinci (1986), Needles and Opium (1991), Elsinore (1995), Far Side of the Moon (2000) and Project Andersen (2005). In bringing to the forefront interconnecting notions of intermediality and contemporary spectatorship, the book highlights the director’s preoccupation with an ongoing dialogue with audiences across the world, and their particular involvement in the development of one of the most innovative practices of the Western theatre landscape.
Offering a fresh insight into the ways in which film and theatre communicate dramatic performances, this volume is a must-read for students and scholars of stage and screen.
Author: Michael Ingham
Publisher: Taylor & Francis
Dialogue between film and theatre studies is frequently hampered by the lack of a shared vocabulary. Stage-Play and Screen-Play sets out to remedy this, mapping out an intermedial space in which both film and theatre might be examined. Each chapter’s evaluation of the processes and products of stage-to-screen and screen-to-stage transfer is grounded in relevant, applied contexts. Michael Ingham draws upon the growing field of adaptation studies to present case studies ranging from Martin McDonagh’s The Cripple of Inishmaan and RSC Live’s simulcast of Richard II to F.W. Murnau’s silent Tartüff, Peter Bogdanovich’s film adaptation of Michael Frayn’s Noises Off, and Akiro Kurosawa’s Ran, highlighting the multiple interfaces between media. Offering a fresh insight into the ways in which film and theatre communicate dramatic performances, this volume is a must-read for students and scholars of stage and screen.
Staging and Performing Translation: Text and Theatre Practice. Basingstoke:
Palgrave Macmillan. Carlson, Marvin. (2001). The Haunted Stage: The Theatre
as Memory Machine. Ann Arbor ... (2006). Intermediality in Theatre and
Author: Margherita Laera
Publisher: A&C Black
Contemporary theatrical productions as diverse in form as experimental performance, new writing, West End drama, musicals and live art demonstrate a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. Featuring seventeen interviews with internationally-renowned theatre and performance artists, Theatre and Adaptation provides an exceptionally rich study of the variety of work developed in recent years. First-hand accounts illuminate a diverse range of approaches to stage adaptation, ranging from playwriting to directing, Javanese puppetry to British children's theatre, and feminist performance to Japanese Noh. The transition of an existing source to the stage is not a smooth one: this collection examines the practices and the complex set of negotiations each work of transition and appropriation involves. Including interviews with Socìetas Raffaello Sanzio, Handspring Puppet Company, Katie Mitchell, Rimini Protokoll, Elevator Repair Service, Simon Stephens, Ong Keng Sen and Toneelgroep Amsterdam, the volume reveals performance's enduring desire to return, rewrite and repeat.
In Shakespearean performance, intermediality revises the mode and the function
of the playwright's authority and authorship. It activates fundamental features of
his drama, as it allows theatre makers to express complex images and multiple ...
Author: A. Mancewicz
Intermedial Shakespeares argues that intermediality has refashioned performances of Shakespeare's plays over the last two decades in Europe. It describes ways in which text and author, time and space, actor and audience have been redefined in Shakespearean productions that incorporate digital media, and it traces transformations in practice.
This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of ...
Author: Bryan Reynolds
This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. It offers the first sustained analysis of the work of Gilles Deleuze, Félix Guattari, Jean Baudrillard, and Friedrich Nietzsche in relation to the contemporary European theater of Jan Lauwers and Needcompany, Romeo Castellucci and Socìetas Raffaello Sanzio, Thomas Ostermeier, Rodrigo García and La Carnicería Teatro, and the Transversal Theater Company. It connects contemporary uses of objects, simulacra, and technologies in both posthumanist discourse and postdramatic theater to the transhistorically and culturally mediating power of Shakespeare as a means by which to discuss the affective impact of intermedial theater on today’s audiences.
The maindifference beingthe balance between live theatrical performance
andthe cinematic projection which accompanies it. ... The space of the
intermedial between theatre and cinema investigated here will be a space of
Author: P. Woycicki
A cinema without cameras, without actors, without screen frames and without narratives almost seems like an antithetical impossibility of what is usually expected from a cinematic spectacle. This book defines an emergent field of post-cinematic theatre and performance, challenging our assumptions and expectations about theatre and film.
Bruce Barton is a creator/scholar who teaches playmaking, dramaturgy, and
intermedial performance at the University of Toronto, Canada. He has published
in a wide range of scholarly and practical periodicals, as well as several national
Author: Anna Birch
Publisher: Palgrave Macmillan
Performing Site-Specific Theatre turns a critical eye to the increasingly popular form of site-specific performance. By re-assessing this contemporary practice, the book investigates the nature of the relationship between "site" and "performance." Site-specific performance operates differently from performance that takes place within a theatre venue because it seeks to match form and content (and place and space) more finely than does theatre that takes place inside conventional venues. Yet the form also encourages an investigation of how we might understand "site" as less fixed or less specifically geographical; it broadens the types of relevant "spaces" we might consider. The form also enables us to address a range of performative issues, from the development of site-specific "soundscapes" to the role of the spectator in site-specific performance. The contributions in the book from leading theorists and practitioners demonstrate how site-specific performance extends theatre's potential engagement with its geographical and political communities, and cover an exceptional range of innovative performance practices. Students, scholars and practitioners of contemporary theatre and performance, space and place, and site-specific performance will find much to value in this timely interrogation of current trends, practices and implications of performance in which site/landscape is central.
Live Art, Socially Engaged Theatre and Affective Practice N. Shaughnessy.
Bishop, C. ... New (1985) Theatre ofthe York:Theatre Communications Group. ...
Chapple F., and C. Kattenbelt (2006) Intermediality in Theatre and Performance.
Author: N. Shaughnessy
This book draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.
Callens, Johan (2006) 'Shadow of the Vampire: Double Takes on Nosferatu', in
Freda Chapple and Chiel Kattenbelt (eds) Intermediality in Theatre and
Performance. Amsterdam: Rodopi, 195–205. Case, Sue-Ellen (1991) 'Tracking
Author: Jeffrey Weinstock
Publisher: Columbia University Press
This introductory volume offers an elegant analysis of the enduring appeal of the cinematic vampire. From Georges Méliès' early cinematic experiments to Twilight and Let the Right One In, the history of vampires in cinema can be organised by a handful of governing principles that help make sense of this movie monster's remarkable fecundity. Among these principles are that the cinematic vampire is invariably about sex and the vexed human relationship with technology, and that the vampire is always an overdetermined body condensing what a culture considers other. This volume includes in-depth studies of films including Powell's A Fool There Was, Franco's Vampyros Lesbos, Cronenberg's Rabid, Kümel's Daughters of Darkness, and Merhige's Shadow of the Vampire.
The relationship of video space as a site to theatre space as a site ( in intermedial
/ mixed media performance ) ... is offered by Freda Chapple and Chiel Kattenbelt
, eds . , Intermediality in Theatre and Performance , Amsterdam : Rodopi , 2006 .
Author: Johannes H. Birringer
Publisher: Paj Publication
The author's writings are widely known in the United States and Europe.
Giannachi offers an investigation of the interface between theatre performance & digital arts, investigating the aesthetic concerns of current computer arts practices & showing how they radically question our conventional uses & definitions ...
Author: Gabriella Giannachi
Publisher: Psychology Press
Virtual Theatres presents the theatre of the twenty-first century in which everything - even the viewer - can be simulated. In this fascinating volume, Gabriella Giannachi analyses the aesthetic concerns of current computer-arts practices through discussion of a variety of artists and performers including *Blast Theory *Merce Cunningham *Eduardo Kac *Forced Entertainment *Lynn Hershman *Jodi Orlan *Guillermo Gomez-Pena *Marcel-l? Ant.nez Roca *Jeffrey Shaw *Stelarc. This is the first full-length book of its kind to offer an investigation of the interface between theatre, performance and digital arts. Virtual Theatres not only allows for a reinterpretation of what is possible in the world of performance practice, but also demonstrates how 'virtuality' has come to represent a major parameter for our understanding and experience of contemporary art and life.
This book offers a wide-ranging examination of acts of ‘virtual embodiment’ in performance/gaming/applied contexts that abstract an immersant’s sense of physical selfhood by instating a virtual body, body-part or computer-generated ...
Author: Liam Jarvis
Publisher: Springer Nature
This book offers a wide-ranging examination of acts of ‘virtual embodiment’ in performance/gaming/applied contexts that abstract an immersant’s sense of physical selfhood by instating a virtual body, body-part or computer-generated avatar. Emergent ‘immersive’ practices in an increasingly expanding and cross-disciplinary field are coinciding with a wealth of new scientific knowledge in body-ownership and self-attribution. A growing understanding of the way a body constructs its sense of selfhood is intersecting with the historically persistent desire to make an onto-relational link between the body that ‘knows’ an experience and bodies that cannot know without occupying their unique point of view. The author argues that the desire to empathize with another’s ineffable bodily experiences is finding new expression in contexts of particular urgency. For example, patients wishing to communicate their complex physical experiences to their extended networks of support in healthcare, or communities placing policymakers ‘inside’ vulnerable, marginalized or disenfranchised virtual bodies in an attempt to prompt personal change. This book is intended for students, academics and practitioner-researchers studying or working in the related fields of immersive theatre/art-making, arts-science and VR in applied performance practices.