Intermediality in Theatre and Performance

Chapple, Freda; Kattenbelt, Chiel

doi:10.1163/9789401210089

Cited by 107 publications

(12 citation statements)

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“…In the group's performances, multimedia approaches intertwine with the need for care and access intimacy, 8 and this often results in a mix of "intermediality" in performance. 9 Intermediality is itself a multimodal approach to performance that does not prioritise any one medium: screen, live, digital or immersive. The performance event becomes a kind of assemblage within which affects are transmitted between human participants and theatrical and digital techne.…”

Section: Different Light Theatre: Multimodal Practices In Learning-di...mentioning

confidence: 99%

Different Light Theatre:

McCaffrey¹

2022

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Learning-disabled theatre is often perceived as giving a voice to the voiceless or empowering those marginalised in society. But how can this voice and power avoid becoming co-opted by neoliberal, racial, colonial capital merely to produce the entitled, self-possessed, autonomous individuals that late capitalism needs, but the production of which is destroying the planet? Does the political efficacy of this work consist in the mere presence of learning-disabled artists in these contexts, or is it not rather in the negotiation of the terms of their presence and participation? Interesting answers to these questions emerge in the exploration of the multimodal negotiation of voice, presence, representation and mediation in learning-disabled performance as performance.

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Section: Different Light Theatre: Multimodal Practices In Learning-di...mentioning

confidence: 99%

Different Light Theatre:

McCaffrey¹

2022

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“…11 Lehmann also couples the decentralisation of text and the development of postdrama with the 'caesura of media society'. 12 A hitherto little researched aspect is how the emergence of new media not only influenced theatre aesthetics, 13 but also transformed the creative process. To the sketches, notes and conceptual reflections traditionally found both literally and figuratively in the margins of the dramatic text, a diversity of forms and media are added, often borrowed from other artistic fields (film, video, music, the visual arts), mixing old and new media.…”

Section: Tracing Transforming Creationsmentioning

confidence: 99%

Tracing Creation: The Director’s Notebook as Genetic Document of the Postdramatic Creative Process

Roy

Cassiers

Crombez

et al. 2016

Contemporary Theatre Review

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In 2012 he obtained his doctoral degree at Ghent University with a dissertation entitled Verknoopte tijd, verfrommelde geschiedenis (Entangled Time, Crumpled History). Inspired by the philosophy of history of Walter Benjamin, this research dealt with the politics of memory of performative strategies (re-enactment, historical montage, testimony) in historic and contemporary (cultural) performance. He publishes on these themes. Besides his academic research, he has been a theory coach at the dance school P.A.R.T.S. (Brussels, since 2012), a freelance editor and is the content coordinator of the Master in Drama at KASK / School of arts.Edith Cassiers obtained a Bachelor in Dutch -Theater, Film and Literature Studies and a Masters degree in Theater and Film Studies at the University of Antwerp. In 2010, she worked as an assistant-dramaturge for Jan Fabre within the production of Prometheus Landscape II. Since 2011 she has been working as a theater scientist for Laboratorium/Troubleyn, studying artistic methodologies of the performer of the twenty-first century, including the acting method of Jan Fabre. Currently, she is a fellow of the Research Foundation Flanders (FWO) and preparing a PhD within the project 'The Didascalic Imagination' about contemporary theatrical notebooks.Thomas Crombez studied Philosophy at the Vrije Universiteit Brussel and Theatre Studies at the Universiteit Antwerpen. He obtained his doctorate with a dissertation on 'The Antitheatre of Antonin Artaud: An examination of aesthetic transgression, applied to the contemporary theatre ' (2006). He is currently teaching at the Koninklijke Academie voor Schone Kunst in Antwerp (Royal Academy of Fine Arts) and at Sint Lucas Antwerpen. Current courses include Philosophy of Art, Theatre History, and Performance and Avant-garde. See: www.zombrec.be.Luk Van den Dries studied Germanic Philology at the University of Brussels and started his academic career in 1980 with a research fellowship at the University of Brussels. In 1991 he obtained his PhD on The Performance History of Heiner Müller in Belgium and was appointed as an assistant Professor at the University of Antwerp. Currently he is Professor of Theatre Studies at the University of Antwerp (Belgium) and head of the department of Literature. His major work on the corpus of the Flemish artist Jan Fabre (Imschoot, 2004), has been translated into seven languages. He is the author of several books and articles investigating the development of theatre in Flanders and the Netherlands. He is the co-supervisor of the FWO-supported research project The Didascalic Imagination.

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“…Kirby's continuum for acting/not-acting contains five positions 6 : non-matrixed performing, symbolized matrix, received acting, simple acting, complex acting. Kirby suggests that whilst 'the differences between acting and non-acting may be small…it is precisely these borderline cases that can provide insights into acting theory and the nature of art.'…”

Section: On Performing and Not-performingmentioning

confidence: 99%

“…Freda Chapple and Chiel Kattenbelt suggest that 'intermediality is a dominant trend in the arts and media' (6,11). They continue:…”

Section: On Performing and Not-performingmentioning

confidence: 99%

Issues in instrumental design: The ontological problem (opportunity?) of ‘liveness’ for a laptop ensemble

Blain

2013

Journal of Music, Technology &Amp; Education

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Through the recent work of Manchester Metropolitan University laptop ensemble (MMUle),1 this article will explore issues in new instrumental design for ‘live’ performance. For MMUle, the intimacy of the interaction between human and machine is exposed through ‘live’ performance and this has resulted in the relationship between musician and machine being in a process of constant negotiation. Subsequently, this article will consider some of the technical approaches and performance strategies MMUle has developed in an attempt to better interact with technology through the design of new instruments for musical performance. It will consider the relationship between the musician and the computer as musical instrument; it will consider the causal relationship between performative action and resulting sound, which has remained an issue for some spectators of music laptop performances and will explore this in light of MMUle’s approach to expand the affordance of the laptop computer in relation to its musical and performative potential; and some consideration will be given to the use of interface devices such as the computer program MaxMSP, the games controllers X-box and Wii, and the human body as MMUle attempt to interact with machines. The article will discuss some of the implications and applications of developing new software instruments for performance and this will be explored through two pathways to ‘liveness’: performance as a constructed ‘live’ event and ‘liveness’ considered as part of a creative strategy.

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Intermediality in Theatre and Performance

Cited by 107 publications

References 0 publications

Different Light Theatre:

Different Light Theatre:

Tracing Creation: The Director’s Notebook as Genetic Document of the Postdramatic Creative Process

Issues in instrumental design: The ontological problem (opportunity?) of ‘liveness’ for a laptop ensemble

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