Interdisciplinary approaches to documenting performance

Sant, Toni

doi:10.1080/14794713.2014.912495

Cited by 6 publications

(3 citation statements)

References 1 publication

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“…Each data team needs to think of what type of data model is practicable, and which best suits its needs. I agree with Toni Sant's (2014) admonition that "performance scholars need to make use of best practices in information science more consistently," but we also need to do what is technically and institutionally feasible. The ways in which data are to be shared are perhaps the most important considerations when choosing a data model, and it is to these that I now turn to.…”

Section: Data Models and Metadatamentioning

confidence: 77%

Theater as Data

Varela¹

2021

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Section: Data Models and Metadatamentioning

confidence: 77%

Theater as Data

Varela¹

2021

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“…The oxymoronic aspect of the concept of a developmental documentary framework is the element which allows us to go beyond questions relating to documentation of performance (broadly speaking) in terms of authenticity and representation (Phelan 1993;Jones 1997), fetishization (Jones 2011), interdisciplinarity of documentation processes (Sant 2014), and primary or secondary status of documents (Berryman 2018). From a pragmatic (in the general sense of the term) perspective, the ability to act upon the documentation literally and theoretically poses the question of the kind of implementation required for operationalizing a developmental documentation framework for acousmatic interpretation.…”

Section: Discussionmentioning

confidence: 99%

Documenting acousmatic music interpretation: a developmental framework based on cross self-confrontations

Boutard

Féron

2020

International Journal of Performance Arts and Digital Media

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The investigation of acousmatic music interpretation as a distinct activity from composition calls for the investigation of appropriate documentation frameworks. This paper investigates the relevance of cross self-confrontations to capture all dimensions of interpretation of acousmatic music from a dialogical and developmental perspective. This study is the second phase of the project Interpretation Spatiale des Musiques Electroacoustiques (ISME), following a theoretical investigation of acousmatic music interpretation. It is based on the automated reenactment of several performances conducted during an acousmatic interpretation workshop and masterclass at LaBRI-SCRIME in 2015. The analysis presents the practical and theoretical relevance of the framework in relation to the dimensions of acousmatic interpretations conceptualized during the first phase of the project based on semi-structured interviews.

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“…Many of these tools and resources have been created by interdisciplinary teams, thereby stimulating novel partnerships that have generated increased interest in dancefor its access to body knowledge and different kinds of intelligences (Leach 2014) -whilst also probing the embodied practice/document dichotomy. Consequently, dance is now distributed more widely and what was once an art form that struggled to persist beyond the live event, dance is now available through digital archives, scores, websites and open data banks, and many of these are experimental in nature (Sant 2014). The increased availability of digital technologies has also revealed that the dance making process is a process of distributed cognition and authorship, thereby unleashing the choreographer from the conventional role of single author, with the potential to make more visible the work of dancers who were hitherto on the margins of the dance community.…”

Section: Introductionmentioning

confidence: 99%

Digital Preservation of Dance, Inclusion, and Absence

Whatley¹

2019

The Routledge Companion to Dance Studies

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Digital technologies have introduced a raft of opportunities for novel modes of dance documentation and preservation. More particularly, digital tools have been developed that have offered dance scholars and artists opportunities to develop new modes of dance visualization and transmission, creating new ways to access dance content and in turn provide new insights to dance, and its compositional and relational properties. This chapter examines three digital dance resources that have emerged in recent years; Siobhan Davies RePlay, Digital Dance Archives and Synchronous Objects, and will draw on a series of interviews with dance practitioners and researchers who have worked long-term with technologies, to explore what it is that is preserved and for whom, the nature of the documents or 'objects' that are created, the role of the spectator, viewer or 'user' in the construction and preservation of dance, and how digital methods disrupt the temporal properties of the dance 'event'. The chapter seeks to argue that the opportunity afforded by digital technologies to access the hidden processes of dance creation, shows how these digital artefacts become new kinds of records of performance.

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Interdisciplinary approaches to documenting performance

Cited by 6 publications

References 1 publication

Theater as Data

Theater as Data

Documenting acousmatic music interpretation: a developmental framework based on cross self-confrontations

Digital Preservation of Dance, Inclusion, and Absence

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