Actor or Puppet: The Body in the Theatres of the Avant-Garde

Taxidou, Olga

doi:10.1163/9789401202589_013

Avant-Garde / Neo-Avant-Garde 2005

DOI: 10.1163/9789401202589_013

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Actor or Puppet: The Body in the Theatres of the Avant-Garde

Olga Taxidou¹

Abstract: In 1921 Oscar Schlemmer, the Bauhaus artist, wrote about the function of the human form in the theatre in an essay entitled "Man and Art Figure": The history of the theatre is the history of the transformation of the human form. It is the history of man as the actor of physical and spiritual events, ranging from naivete to reflection, from naturalness to artifice.

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Batman and the World of Tomorrow: Yesterday’s Technological Future in the Animated Film Batman: Mask of the Phantasm

Jürgens

2020

Animation

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Examining facets of modernist visions of our technological future and of theatricalized city and stage spaces in the 1993 animated film Batman: Mask of the Phantasm, this article explores the cultural meaning of technology in graphic fiction. The confrontation scene between Batman and Joker in the grounds of Gotham’s World’s Fair, the author argues, echoes the 1939 New York World’s Fair with its modernist urban optimism and pop cultural fascination with new visionary technologies, as well as the modern history of moving pictures and multi-media spectacle. The article spotlights the power of the Batman story to participate in, and contribute towards, complex cultural inquiry and transmedial discourses around technology and popular entertainments. Through the exquisite medium of animation – which allows animated characters to be placed on an abstract architectural city stage – Mask of the Phantasm also embodies modernist visions of the ‘ideal’ stage character in a medium that creates non-realist art and more complex possibilities for movement, thus transporting modernist thinking into the 20th century.

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Batman and the World of Tomorrow: Yesterday’s Technological Future in the Animated Film Batman: Mask of the Phantasm

Jürgens

2020

Animation

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Joints and Strings: On the Anatomy of the Performing Body

Kirkkopelto¹

2016

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This article concerns the ontological status of the performing body. What if it were not considered derivative in relation to any kind of discursive construction or any kind of pre-existent materiality or force? What if it were taken as a starting point of our attempts to understand the linguistic and material aspects of our bodily co-existence? If so, our ideas of what a body can do while performing, and what it consists of, have to change radically. The anatomy of the performing body is studied through a series of scenic experiments and practical examples, and the argumentation rests on the evidence thus provided. On the philosophical level the discussion focuses on ’object-oriented ontology’ and its representatives. The indications are that our understanding of objects, objectivity and things in general is based on our understanding of bodies as linguistic entities. Becoming a performing body means becoming a linguistic body, and vice versa. This does not take us back to ‘transcendentalism’ or ‘correlationism’, however. The equality of all things, claimed by ‘ooo’ proponents, can only be achieved via the medium of the performing body as an equalizing instance.

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Actor or Puppet: The Body in the Theatres of the Avant-Garde

Cited by 2 publications

References 0 publications

Batman and the World of Tomorrow: Yesterday’s Technological Future in the Animated Film Batman: Mask of the Phantasm

Batman and the World of Tomorrow: Yesterday’s Technological Future in the Animated Film Batman: Mask of the Phantasm

Joints and Strings: On the Anatomy of the Performing Body

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