By Philip Auslander
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.
Read or Download Liveness: Performance in a Mediatized Culture PDF
Similar theater books
In keeping with fundamental resources, lots of that have by no means been released or tested intimately, this e-book examines the tune of the past due 17th-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved within the vast Moravian information in Kromeriz.
This can be one of many first books to supply a rigorous research of the big adjustments within the musical theatre in the course of the Nineteen Eighties and 90s. additionally, it specializes in the contribution of famous, critical theatre administrators to the mainstream Musical Theatre and it's the first e-book to supply a twin Anglo-American point of view in this topic.
This vigorous and provocative learn bargains a thorough reappraisal of a century of Shakespearean theatre. issues addressed comprise modernist Shakespearean performance's relation with psychoanalysis, the hidden gender dynamics of the open level move, and the appropriation of Shakespeare himself as a dramatic fiction and theatrical icon.
This largely conceived and enlightening examine how Homer’s Odyssey has resonated within the West bargains a thematic research of the poem’s influence on social and political principles, associations, and mores from the traditional international in the course of the modern. Proving that the epic poem is undying, Edith corridor identifies fifteen key issues within the Odyssey and makes use of them to demonstrate the wide and various impact that Homer’s paintings has had on all demeanour of inquiry, expression, and paintings.
- Performing the Modern German: Performance and Identity in Contemporary German Cinema
- Estimating the Policy Position of Political Actors (Routledge Ecpr Studies in European Political Science)
- From Camera Lens to Critical Lens: A Collection of Best Essays on Film Adaptation
- A Semiotics of the Dramatic Text
- Performance, Identity, and the Neo-Political Subject
- On the Uses of the Fantastic in Modern Theatre: Cocteau, Oedipus, and the Monster (Palgrave Studies in Theatre and Performance History)
Extra info for Liveness: Performance in a Mediatized Culture
15 Daryl Chin (1991:20) describes 14 15 Kirby (1984 :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.
Liveness: Performance in a Mediatized Culture by Philip Auslander