The Experts below are selected from a list of 360 Experts worldwide ranked by ideXlab platform
Peter Eckersall - One of the best experts on this subject based on the ideXlab platform.
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new media Dramaturgy performance media and new materialism
2017Co-Authors: Peter Eckersall, Helena Grehan, Edward ScheerAbstract:This book illuminates the shift in approaches to the uses of theatre and performance technology in the past twenty-five years and develops an account of new media Dramaturgy (NMD), an approach to theatre informed by what the technology itself seems to want to say. Born of the synthesis of new media and new Dramaturgy, NMD is practiced and performed in the work of a range of important artists from dumb type and their 1989 analog-industrial machine performance pH, to more recent examples from the work of Kris Verdonck and his A Two Dogs Company. Engaging with works from a range of artists and companies including: Blast Theory, Olafur Eliasson, Nakaya Fujiko and Janet Cardiff, we see a range of extruded performative technologies operating overtly on, with and against human bodies alongside more subtle dispersed, interactive and experiential media.
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cue black shadow effect the new media Dramaturgy experience
2017Co-Authors: Peter Eckersall, Helena Grehan, Edward ScheerAbstract:We begin with the notion that what was once called new media has increasingly become a familiar part of the Dramaturgy of the last quarter century. By considering the Dramaturgy of new media performance events, we seek to develop a language to describe, situate, and understand how the practices of conceptualizing, designing, directing, and reading/responding to performance are now in flux in new ways. This flux is facilitated in part by developments in digital culture, and by a desire to respond to and harness these. In observing these developments, we also see a decrease in the representation of mediated society and an increase in the simulation of the agency of its technical creations. Born of the synthesis of new media and new Dramaturgy, the ‘new’ in NMD is practiced and performed in the work of a range of important contemporary artists – through their work with objects, actants, atmospheres, visuality, sound, machines, and systems of various kinds. We note that the use of video, powerful data projections, new sound systems, and even technologies such as robots reflects not so much a vanishing of human bodily presence from the theatre or the arts of that period, but a more subtle repositioning of bodily presence.
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the theatrical superfield on soundscapes and acoustic Dramaturgy
2017Co-Authors: Peter Eckersall, Helena Grehan, Edward ScheerAbstract:Chapter 6 is concerned with Michel Chion’s notion of ‘superfield’, a term used to describe the overly present and autonomous effect of sound in film (Chion, Audio-vision: Sound on Screen, Columbia University Press, New York: 1994, 150). With the development of high-fidelity sound systems, sound presence in film (‘projected’ in cinematic speaker arrays and even via headphones inserted into the ear canal) is superabundant; it is a resonant field that can be more sensorially compelling than visual effects. What is its correlation in performance? We consider a range of artworks that utilise distinctive acoustic registers as a primary means of surpassing representation. For example, our discussion of Romeo Castellucci’s work with the composer Scott Gibbons asks if it is a rejoinder to Antonin Artaud’s plea for an aesthetic field of sonic disturbance that activates human organic perceptibility. The extreme superfield effects made possible by digital technologies are also discussed in relation to Ikeda Ryoji’s superposition, a sound and media work featuring an array of integrated sonic effects. As we argue, the informational ‘noise’ of superposition is overwhelming. We also discuss how Forty Part Motet, by Janet Cardiff, makes the processes of vocalising and chorus a visibly embodied experience of listening. Extending from this example, we consider the actor-training exercises called Body Listening developed by the Australian artist and theatre-maker David Pledger. Body Listening seeks to integrate the bodily expressions of performers within a field of informational awareness in a way that connects somatic experience with cultural politics. This chapter presents sound as a pervasive NMD vector – a statement of at times extreme aesthetic experience that Artaud could only have dreamed of given the technologies of his time.
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towards a Dramaturgy of robots and object figures
TDR, 2015Co-Authors: Peter EckersallAbstract:Robotic and virtual figures have become increasingly visible in live performance. How these figures/performative agents come into the discussion of Dramaturgy is considered in reference to recent works by Hirata Oriza and Kris Verdonck.
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locations of Dramaturgy kris verdonck
Performance Research, 2012Co-Authors: Peter EckersallAbstract:Drawing on training in visual arts and theatre studies, Kris Verdonck creates arts works using spatially transforming elements such as light, haze, water and projections. His works combine elements of installation and performance art and utilize high definition video and machinic objects. In this essay I will consider how Verdonck explores ideas of theatre as a way of framing a sensible encounter that combines physical properties and metaphorical aspects. Verdonck creates situations where acts of watching and experiencing his performances are embodied and self-reflexive; where a memory of theatre (in contrast to Camillio's ‘theatre of memory’) as a primary experience is always evoked. At the same time, his ‘theatre’ often questions the very idea of liveness and is presented in various stages of redundancy and reinvention: to act is useless, but to act is to go on, to paraphrase Samuel Beckett, whose texts are sometimes adapted in Verdonck's performances. Cohering his work is the notion of ‘figures’: forms...
Ivan Delmanto - One of the best experts on this subject based on the ideXlab platform.
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a dedirrosea aurora feminismo e totalidade historica em vai raiar o sol de julia lopes de almeida the dawn of pink fingers feminism and historical totality in vai raiar o sol by julia lopes de almeida
O Eixo e a Roda: Revista de Literatura Brasileira, 2019Co-Authors: Ivan DelmantoAbstract:Resumo: A analise de um texto de Julia Lopes de Almeida, que permaneceu inedito e desconhecido por muito tempo, procura tornar visivel o papel desempenhado pelas mulheres na historia da dramaturgia brasileira, buscando contribuir nao so para recuperar uma parte das inumeras vozes emudecidas pela historiografia oficial, mas tambem para mostrar que, a despeito de a organizacao social da producao teatral ter excluido sistematicamente atraves dos seculos a participacao das mulheres, ha contribuicoes decisivas de dramaturgas brasileiras na historia de nossa formacao negativa. Mais do que isso, procuraremos demonstrar que Vai raiar o sol expressa, por meio do deslocamento de diversos procedimentos que marcam o modelo hegemonico do drama burgues, aspectos historicos importantes da situacao das mulheres trabalhadoras durante o longo seculo XX brasileiro. Palavras-chave: Dramaturgia; teatro brasileiro; teoria critica. Abstract: The analysis of a text written by Julia Lopes de Almeida, which remained unpublished and unknown for a long time, seeks to represent the role played by women in Brazilian Dramaturgy history, contributing not only to recover a part of the countless voices muted by official historiography, but also to show that there are decisive contributions by Brazilian playwrights in the history of our negative formation. Such contributions occurred despite the fact that the social organization of theatrical production has systematically excluded the participation of women over the centuries. Furthermore, we will try to demonstrate that Vai raiar o sol expresses, through the displacement of several procedures that mark the hegemonic model of bourgeois drama, important historical aspects of the situation of working women during the long Brazilian twentieth century. Keywords: Dramaturgy; Brazilian theater; critical theory.
Edward Scheer - One of the best experts on this subject based on the ideXlab platform.
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new media Dramaturgy performance media and new materialism
2017Co-Authors: Peter Eckersall, Helena Grehan, Edward ScheerAbstract:This book illuminates the shift in approaches to the uses of theatre and performance technology in the past twenty-five years and develops an account of new media Dramaturgy (NMD), an approach to theatre informed by what the technology itself seems to want to say. Born of the synthesis of new media and new Dramaturgy, NMD is practiced and performed in the work of a range of important artists from dumb type and their 1989 analog-industrial machine performance pH, to more recent examples from the work of Kris Verdonck and his A Two Dogs Company. Engaging with works from a range of artists and companies including: Blast Theory, Olafur Eliasson, Nakaya Fujiko and Janet Cardiff, we see a range of extruded performative technologies operating overtly on, with and against human bodies alongside more subtle dispersed, interactive and experiential media.
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cue black shadow effect the new media Dramaturgy experience
2017Co-Authors: Peter Eckersall, Helena Grehan, Edward ScheerAbstract:We begin with the notion that what was once called new media has increasingly become a familiar part of the Dramaturgy of the last quarter century. By considering the Dramaturgy of new media performance events, we seek to develop a language to describe, situate, and understand how the practices of conceptualizing, designing, directing, and reading/responding to performance are now in flux in new ways. This flux is facilitated in part by developments in digital culture, and by a desire to respond to and harness these. In observing these developments, we also see a decrease in the representation of mediated society and an increase in the simulation of the agency of its technical creations. Born of the synthesis of new media and new Dramaturgy, the ‘new’ in NMD is practiced and performed in the work of a range of important contemporary artists – through their work with objects, actants, atmospheres, visuality, sound, machines, and systems of various kinds. We note that the use of video, powerful data projections, new sound systems, and even technologies such as robots reflects not so much a vanishing of human bodily presence from the theatre or the arts of that period, but a more subtle repositioning of bodily presence.
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the theatrical superfield on soundscapes and acoustic Dramaturgy
2017Co-Authors: Peter Eckersall, Helena Grehan, Edward ScheerAbstract:Chapter 6 is concerned with Michel Chion’s notion of ‘superfield’, a term used to describe the overly present and autonomous effect of sound in film (Chion, Audio-vision: Sound on Screen, Columbia University Press, New York: 1994, 150). With the development of high-fidelity sound systems, sound presence in film (‘projected’ in cinematic speaker arrays and even via headphones inserted into the ear canal) is superabundant; it is a resonant field that can be more sensorially compelling than visual effects. What is its correlation in performance? We consider a range of artworks that utilise distinctive acoustic registers as a primary means of surpassing representation. For example, our discussion of Romeo Castellucci’s work with the composer Scott Gibbons asks if it is a rejoinder to Antonin Artaud’s plea for an aesthetic field of sonic disturbance that activates human organic perceptibility. The extreme superfield effects made possible by digital technologies are also discussed in relation to Ikeda Ryoji’s superposition, a sound and media work featuring an array of integrated sonic effects. As we argue, the informational ‘noise’ of superposition is overwhelming. We also discuss how Forty Part Motet, by Janet Cardiff, makes the processes of vocalising and chorus a visibly embodied experience of listening. Extending from this example, we consider the actor-training exercises called Body Listening developed by the Australian artist and theatre-maker David Pledger. Body Listening seeks to integrate the bodily expressions of performers within a field of informational awareness in a way that connects somatic experience with cultural politics. This chapter presents sound as a pervasive NMD vector – a statement of at times extreme aesthetic experience that Artaud could only have dreamed of given the technologies of his time.
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robotics as new media Dramaturgy the case of the sleepy robot
TDR, 2015Co-Authors: Edward ScheerAbstract:It doesn’t matter if the actor is a robot; the virtual context of art and theatre is a site where a “vibrant materialism” might offer useful insights on the status of the actor, the object, and especially the robotic object, in an expanded Dramaturgy.
Synne Behrndt - One of the best experts on this subject based on the ideXlab platform.
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dance Dramaturgy and dramaturgical thinking
Contemporary Theatre Review, 2010Co-Authors: Synne BehrndtAbstract:In her essay ‘Shaping Critical Spaces: Issues in the Dramaturgy of Movement Performance’ (1997), Heidi Gilpin opens a discussion about the relationship between Dramaturgy and dance.1 One presupposi...
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Dramaturgy and performance
2007Co-Authors: Cathy Turner, Synne BehrndtAbstract:Introduction PART I: What is Dramaturgy? Brecht's productive Dramaturgy: from emblem to 'golden motor' Names and Identities: Political dramaturgies in Britain PART II: Introduction: The Dramaturg and the Theatre Institution The Dramaturg and the Playwright The Production Dramaturg The Dramaturg and Devising: Shaping a Dramaturgy PART III: Millennial Dramaturgies Bibliography Index
Carol Martin - One of the best experts on this subject based on the ideXlab platform.
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introduction Dramaturgy of the real
2010Co-Authors: Carol MartinAbstract:Dramaturgy of the Real on the World Stage is a rendezvous with the ways in which the “real,” a category that is both asserted and challenged in relation to claims of verisimilitude and truth, is being theatricalized on world stages in the twenty-first century. Theatre and performance that engages the real participates in the larger cultural obsession with capturing the “real” for consumption even as what we understand as real is continually revised and reinvented. Theatre of the real, also known as documentary theatre as well as docudrama, verbatim theatre, reality-based theatre, theatre of witness, tribunal theatre, nonfiction theatre, and theatre of fact, has long been important for the subjects it presents. More recent dramaturgical innovations in the ways texts are created and productions are staged sheds light on the ways theatre can form and be formed by contemporary cultural discourses about the real both on stage and off. Today’s most provocative personal, political, historical, and virtual theatre of the real embraces the cultural and technological changes that are reforming us globally and breaks away from the conservative and conventional Dramaturgy of realism that was so much a part of documentary theatre in the late twentieth century. Aesthetically conservative documentary theatre, many times infused with leftist politics, continues today. Alongside it, and to some degree overtaking it, is an emerging theatre of the real that directly addresses the global condition of troubled epistemologies about truth, authenticity and reality.
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Dramaturgy of the real on the world stage
2010Co-Authors: Carol MartinAbstract:PART I: ESSAYS The Dramaturgy of the Real C.Martin Towards a Poetics of Theatre and Public Events J.Reinelt Staging Terror W.Hesford Post-1990s Verbatim Theatre in South Africa: Exploring an African Concept of Truth Y.Hutchison Reality from the Bottom Up: Documentary Theatre in Poland A.Sowinska, trans. B.Paloff The Scripted Realities of Rimini Protokoll F.Malzacher PART II: TEXTS Rewind - A Cantata for Voice, Tape and Testimony J.Dubow Rewind: Cantata P.Miller Is.Man A.Roosen Introduction to Three Posters R.Mroue Three Posters E.Khoury& R.Moure The Magic Years of Youth in Dreary Times, Or Theatre of the Eighth Day's View of Itself, Again During Dreary Times J.Ostrowska, trans. E.Janicka The Files Teatre Osmego Dnia, trans. B.Johnston Pawel Demirski: We're not Hyenas - An Interview P.Sztarbowski, trans. A.Valles Don't Be Surprised When They Burn Your House Down P.Demirski, trans. A.Valles Kidnapping Reality: An Interview with Vivi Tellas A.Pauls, trans. S.J.Townsend Excerpts from the Plays of Vivi Tellas V.Tellas, trans. S.J.Townsend An Intimate Love Letter: Art, Life & Showbiz , Ain Gordon Writer/Director B.Vorlicky Art, Life & Showbiz A.Gordon Index
