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El. knyga: Performance Perspectives: A Critical Introduction

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Edited by , Edited by (University of Leeds, UK)
  • Formatas: PDF+DRM
  • Išleidimo metai: 18-Oct-2011
  • Leidėjas: Red Globe Press
  • Kalba: eng
  • ISBN-13: 9780230356801
Kitos knygos pagal šią temą:
Performance Perspectives: A Critical IntroductionDidesnis paveikslėlis
  • Formatas: PDF+DRM
  • Išleidimo metai: 18-Oct-2011
  • Leidėjas: Red Globe Press
  • Kalba: eng
  • ISBN-13: 9780230356801
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What is 'performance'? What are the boundaries of Performance Studies? How do we talk about contemporary performance practices today in simple but probing terms? What kinds of practices represent the field and how can we interpret them?

Combining the voices of academics, artists, cultural critics and teachers, Performance Perspectives answers these questions and provides a critical introduction to Performance Studies. Presenting an accessible way into key terminology and context, it offers a new model for analyzing contemporary performance based on six frames or perspectives:

- Body - Space - Time - Technology - Interactivity - Organization

Drawing on examples from a wide range of practices across site specific performance, virtual reality, dance, applied theatre and everyday performance, Performance Perspectives addresses the binary of theory and practice and highlights the many meeting points between studio and seminar room. Each chapter takes the innovative form of a three-way conversation, bringing together theoretical introductions with artist interviews and practitioner statements. The book is supported by activities for discussion and practical devising work, as well as clear guidance for further reading and an extensive reference list across media

Performance Perspectives is essential reading for anyone studying, interpreting or making performance.

Recenzijos

'As a tool to facilitate the orientation, critical grounding, analysis, and evaluation of performance work, this should be a set text for every theatre and performance course.' - New Theatre Quarterly 'This book is a guide and a map to key concepts that inspire the making and theorizing of performance. Re-imagining the borders that separate academics and practitioners, Performance Perspectives gives voice to multiple ways of thinking, observing, interconnecting, bridling, and creating.' - Lin Hixson, Professor and Chair, Performance Department, School of the Art Institute of Chicago, USA 'Pitches and Popat have constructed an invaluable resource for students and scholars of contemporary performance anywhere. Performance Perspectives provides new angles on the field and is ideally suited for use in the tertiary classroom.' Edward Scheer, Associate Professor of Theatre Studies, University of New South Wales, Australia.

Daugiau informacijos

As a tool to facilitate the orientation, critical grounding, analysis, and evaluation of performance work, this should be a set text for every theatre and performance course.' - New Theatre Quarterly 'This book is a guide and a map to key concepts that inspire the making and theorizing of performance. Re-imagining the borders that separate academics and practitioners, Performance Perspectives gives voice to multiple ways of thinking, observing, interconnecting, bridling, and creating.' - Lin Hixson, Professor and Chair, Performance Department, School of the Art Institute of Chicago, USA 'Pitches and Popat have constructed an invaluable resource for students and scholars of contemporary performance anywhere. Performance Perspectives provides new angles on the field and is ideally suited for use in the tertiary classroom.' - Edward Scheer, Associate Professor of Theatre Studies, University of New South Wales, Australia.
List of Illustrations, Figures and Tables
x
Notes on Contributors xi
Foreword xvii
Mick Wallis
Acknowledgements xx
Chapter 1 Introduction
1(19)
Jonathan Pitches
Performance perspectives
1(4)
Borth Bench
5(8)
Summary
13(1)
Chapter summaries
14(3)
Activities
17(2)
Further reading
19(1)
Chapter 2 Body
20(32)
Anna Fenemore
Introduction
20(1)
2.1 Any body? The multiple bodies of the performer
21(12)
Victor Ramirez Ladron de Guevara
The textual body
23(2)
The lived body
25(1)
The ecstatic (or fleshly) body
26(1)
The recessive (or visceral) body
27(2)
The unnatural body
29(1)
The imagined body
30(3)
2.2 Some body and no body: The body of a performer
33(5)
Wendy Houston
Some body
33(1)
No body
34(1)
A somebody or a nobody
35(1)
The `at risk' body
36(1)
The ageing body
37(1)
2.3 Every body: Performance's other bodies
38(14)
Anna Fenemore
Some bodies observed
39(1)
The spectating body
40(1)
The social body
41(1)
The uncomfortable body
42(2)
The absent body
44(1)
The transformed body
44(2)
The irreplaceable body
46(2)
Activities
48(3)
Further reading
51(1)
Chapter 3 Space
52(36)
Scott Palmer
Introduction
52(2)
3.1 Event-space: Performance space and spatial performativity
54(9)
Dorita Hannah
Performing space
54(1)
Event-space and spatial events
55(2)
The end of illusion
57(1)
The empty space
58(1)
Disciplinary manoeuvres
59(2)
Presencing architecture
61(2)
3.2 Scenographic space and place
63(11)
Louise Ann Wilson
Scott Palmer
3.3 Audience space/scenographic space
74(14)
Scott Palmer
Performance space and the audience
74(4)
Performance place and scenographic space
78(3)
The empty space and the performer
81(3)
Activities
84(3)
Further reading
87(1)
Chapter 4 Time
88(26)
Tony Gardner
Introduction
88(1)
4.1 Theatre, technology and time
89(9)
Steve Dixon
Postmodern time
90(2)
Extratemporality
92(1)
Freezing time
93(3)
Conclusion time
96(2)
4.2 Ghost Dance: Time and duration in the work of Lone Twin
98(5)
Gregg Whelan
Tony Gardner
4.3 The lives and times of performance
103(11)
Tony Gardner
The unique connection between performance and time
103(2)
Antony Gormley and the Fourth Plinth
105(1)
Grasping time
106(2)
Conclusion
108(2)
Activities
110(3)
Further reading
113(1)
Chapter 5 Technology
114(32)
Sita Popat
Introduction
114(1)
5.1 Gaming and performance: Narrative and identity
115(8)
Jessica Wood
Computer games as drama
116(1)
Self-representation and the avatar
117(2)
Being there, doing that
119(1)
The fourth wall
120(1)
Conclusion
121(2)
5.2 SwanQuake: House -- `messing the system up'
123(9)
Sita Popat
SwanQuake: House: A personal experience (Sita Popat)
123(3)
Interview with Ruth Gibson and Bruno Martelli
126(6)
5.3 Performance and technology: The myth of disembodiment
132(14)
Sita Popat
Introduction
132(1)
Cyberspace
133(1)
`Touching with my eyes'
134(3)
Liveness
137(1)
Is any body out there?
138(2)
Conclusion
140(2)
Activities
142(3)
Further reading
145(1)
Chapter 6 Interactivity
146(30)
Alice O'Grady
Introduction
146(1)
Two perspectives on interaction
146(2)
6.1 Boalian perspectives on interactivity in theatre
148(10)
John Somers
Introduction
148(1)
The real and the fictional
148(1)
What kinds of interactivity are there?
149(2)
What does the audience contribute?
151(3)
What are the challenges for the actors?
154(1)
The need for closure and for support post-event
155(1)
Conclusion
155(3)
6.2 Interactivity and the work of Blast Theory
158(7)
Matt Adams
Alice O'Grady
6.3 Interactivity: Functions and risks
165(11)
Alice O'Grady
Interactivity and performance
166(2)
Interactive performance is always incomplete
168(1)
Interactivity in practice
169(2)
Spaces of interactivity
171(1)
Conclusion
172(1)
Activities
173(2)
Further reading
175(1)
Chapter 7 Organization
176(26)
Calvin Taylor
Introduction
176(4)
7.1 Performance, culture, industry
180(7)
Ralph Brown
Value, assets and returns
181(2)
Communities of practice
183(2)
Conclusion
185(2)
7.2 Organizational agility and improvisation
187(4)
Teo Greenstreet
7.3 Performance, organization, theory
191(11)
Calvin Taylor
The machine metaphor
194(1)
Organization as organism
195(2)
Organization as network
197(2)
Activities
199(2)
Further reading
201(1)
Chapter 8 Epilogue
202(5)
Jonathan Pitches
Bibliography 207(12)
Index 219
JONATHAN PITCHES is Professor of Theatre and Performance in the School of Performance and Cultural Industries at the University of Leeds, UK. He is the author of Vsevolod Meyerhold and Science and the Stanislavsky Tradition of Acting, and founding co-editor of Theatre Dance and Performance Training.



SITA POPAT is Head of the School of Performance and Cultural Industries and Senior Lecturer in Dance at the University of Leeds, UK. She is the author of Invisible Connections: Dance, Choreography and Internet Communities, and Associate Editor of the International Journal of Performance Arts and Digital Media.
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