Activating The Inanimate Visual Vocabularies Of Performance Practice
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Activating the Inanimate: Visual Vocabularies of Performance Practice
This volume was first published by Inter-Disciplinary Press in 2013. The dynamic exchange of perspectives that constituted the 2nd Global Conference of Performance: Visual Aspects of Performance Practice demonstrated that the foundational concept of the project is a vibrant platform for sharing and extending ideas within all aspects of scenographic practice in performance. This volume is a compilation of papers that formed the basic structure of that conference. The first four chapters present a developing schema of visual languages within theatre. From Beckett, Ibsen, Svoboda to Wilson, they navigate the symbolic and visual prioritizing of postdramatic scenographic forms. Part 2 reconsiders the predetermined divisions that deflate experiential encounters with the inanimate. Dance, puppetry and slapstick provide examples of interaction between performers and their environment. Part 3 addresses various renderings of design processes, exploring the role of drawing, fabric and body in creating a narrative. Part 4 negotiates the sensitive interface between public and performance while looking at the Burning Man Festival, flash mobs and opera media casting. The final chapters represent a global collective of process strategies that confront the production and methodologies of meaning. They engage with cultural presumptions and subjectivities in post Cultural Revolution China, Spanish flamenco, American Indian (post)colonial resistances and the traditions of Australian Aboriginal artists.
Staged Experiences
This volume was first published by Inter-Disciplinary Press in 2014. The term ‘performance practice’ houses within it a diversity of practices and artists whose work extends and interrogates the boundaries between theatre and nearly all other creative art forms. This volume contains diverse theoretical and creative essays all of which manifest a commitment to exploring the complexity of relationships between performer, space, and audience. The work investigated is not subsumed within disciplines, but cuts across and between disciplinary vocabularies providing new synergies, domains, and inter-disciplinary possibilities. Revolutionary innovations and experimentations are presented in the fields of motion graphics, design and scenography. Readers will discover the challenges and ingenuities of the imaginary, and the dynamics of performance as it intersects with the physical construction of space. The mysteries of what denotes ‘liveness’ will be unveiled, The Barber of Seville will be re-imagined through juvenile intervention, and Shakespeare is viewed through the hypnagogic imagination against the nothingness of Venetian mystique.
Shakespeare and the 'Live' Theatre Broadcast Experience
This ground breaking collection of essays is the first to examine the phenomenon of how, in the twenty-first century, Shakespeare has been experienced as a 'live' or 'as-live' theatre broadcast by audiences around the world. Shakespeare and the 'Live' Theatre Broadcast Experience explores the precursors of this phenomenon and its role in Shakespeare's continuing globalization. It considers some of the most important companies that have produced such broadcasts since 2009, including NT Live, Globe on Screen, RSC Live from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh Theatre Company Live, and Cheek by Jowl, and examines the impact these broadcasts have had on branding, ideology, style and access to Shakespeare for international audiences. Contributors from around the world reflect on how broadcasts impact on actors' performances, changing viewing practices, local and international Shakespearean fan cultures and the use of social media by audience members for whom “liveness” is increasingly tied up in the experience economy. The book tackles vexing questions regarding the 'presentness' and 'liveness' of performance in the 21st century, the reception of Shakespeare in a globally-connected environment, the challenges of sustaining an audience for stage Shakespeare, and the ideological implications of consuming theatre on screen. It will be crucial reading for scholars of the 'live' theatre broadcast, and enormously helpful for scholars of Shakespeare on screen and in performance more broadly.