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Informationen zum Autor 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. Klappentext 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. Zusammenfassung This critical introduction to Performance Studies provides undergraduates with an accessible way into terminology and context. Using an innovative tripartite structure that combines the voices of artists, critics and teachers, it addresses a variety of practices moving through body, space, time, technology, interactivity and organization. Inhaltsverzeichnis List of Illustrations and Figures List of Tables Notes on Contributors Foreword; M.Wallis Acknowledgements Introduction; J.Pitches PART I: BODY; Introduced and edited by A.Fenemore Any Body? The Multiple Bodies of the Performer; V.Ramirez Ladron De Guevera Some Body and No Body: The Body of a Performer; W.Houstoun Every Body: Performance's Other Bodies; A.Fenemore PART II: SPACE; Introduced and edited by S.Palmer Event-Space: Performance Space and Spatial Performativity; D.Hannah Scenographic Space and Place; L.A.Wilson Audience Space/Scenographic Space; S.Palmer PART III: TIME; Introduced and edited by T.Gardner Theatre, Technology and Time; S.Dixon Ghost Dance: Time and Duration in the Work of Lone Twin; G.Whelan The Lives and Times of Performance; T.Gardner PART IV: TECHNOLOGY; Introduced and edited by S.Popat Gaming and Performance: Narrative and Identity; J.Wood SwanQuake House 'Messing the System Up'; R.Gibson & B.Martelli Performance and Technology: The Myth of Disembodiment; S.Popat PART V: INTERACTIVITY; Introduced and edited by A.O'Grady Boalian Perspectives on Interactivity in Theatre; J.Somers Interactivity and the Work of Blast Theory; M.Adams Interactivity: Functions and Risks; A.O'Grady PART VI: ORGANISATION; Introduced and edited by C.Taylor Performance, Culture and Industry; R.Brown Organisational Agility and Improvisation; T.Greenstreet Performance, Organisation, Theory; C.Taylor Epi...
