Read e-book online Liveness: Performance in a Mediatized Culture PDF

February 2, 2018 | Theater | By admin | 0 Comments

By Philip Auslander

ISBN-10: 020300695X

ISBN-13: 9780203006955

ISBN-10: 0415196892

ISBN-13: 9780415196895

ISBN-10: 0415196906

ISBN-13: 9780415196901

In Liveness Philip Auslander addresses what could be the unmarried most vital query dealing with all types of functionality this present day: what's the prestige of concert in a tradition ruled through mass media? through taking a look at particular circumstances of concert akin to theatre, rock song, game and court docket testimony, Liveness deals penetrating insights into media tradition. This provocative publication tackles the various enduring 'sacred truths' surrounding the excessive cultural prestige of the reside occasion.

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Extra info for Liveness: Performance in a Mediatized Culture

Example text

15 Daryl Chin (1991:20) describes 14 15 Kirby (1984 [1972]:107) acknowledges that “the film actor may do very little, while the camera and the physical/informational context do the ‘acting’ for him,” and he characterizes film acting as “simple acting” which, for him, is at the “matrixed” end of the spectrum between completely nonmatrixed and fully matrixed performing. Although I employ Kirby’s vocabulary, my own characterization of film acting is somewhat different in emphasis, since I wish to position film acting toward the “nonmatrixed” side of Kirby’s performance continuum.

They have a cinematic vocabulary that one must deal with” (quoted in von Hoffman 1995:132). This development lends credence to Patrice Pavis’s claim that “the formation…of audience taste by television necessarily rebounds on the future audience for theatre, particularly in the demand for realism” (Pavis 1992:121). Not only are theatre audiences seeing live performances that resemble mediatized ones as closely as possible, they are also apparently modeling their responses to the live event on those expected of them by television.

As compared with those of television’s Golden Age, the productions to which I refer here did not need to be adapted to make the journey from stage to television, because the live versions had been constructed to be seen as television—they were pre-adapted (so to say) to the demands of their new medium. Contrary to Newman’s suggestion that the adaptation is the essential postmodern form, I would argue that the very fact that these productions required no adaptation in making the transition from representation to repetition is what defines them as postmodern.

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Liveness: Performance in a Mediatized Culture by Philip Auslander

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