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At present, we are witnessing a significant transformation of
established forms of spectatorship in theatre, performance art and
beyond. In particular, immersive and participatory forms of theatre
allow audiences and performers to interact in a shared performance
space. Staging Spectators in Immersive Performances discusses forms
and concepts of contemporary spectatorship and explores various
modes of audience participation in theory as well as in practice.
The volume also reflects on what new terms and methods must be
developed in order to address the theoretical challenges of
contemporary immersive performances. Split into three parts,
Staging Spectators in Immersive Performances, respectively, focuses
on various strategies for mobilising the audience, methodological
questions for research on being a spectator in immersive and
participatory forms of theatre, and thematising new modes of
partaking and ways of spectating in contemporary art. Poignantly
capturing experiences that can be viewed as manifestations of
affective relationality in the strongest possible sense, this
volume will appeal to students and researchers interested in fields
such as Theatre and Performance Studies, Media Studies and
Philosophy.
At present, we are witnessing a significant transformation of
established forms of spectatorship in theatre, performance art and
beyond. In particular, immersive and participatory forms of theatre
allow audiences and performers to interact in a shared performance
space. Staging Spectators in Immersive Performances discusses forms
and concepts of contemporary spectatorship and explores various
modes of audience participation in theory as well as in practice.
The volume also reflects on what new terms and methods must be
developed in order to address the theoretical challenges of
contemporary immersive performances. Split into three parts,
Staging Spectators in Immersive Performances, respectively, focuses
on various strategies for mobilising the audience, methodological
questions for research on being a spectator in immersive and
participatory forms of theatre, and thematising new modes of
partaking and ways of spectating in contemporary art. Poignantly
capturing experiences that can be viewed as manifestations of
affective relationality in the strongest possible sense, this
volume will appeal to students and researchers interested in fields
such as Theatre and Performance Studies, Media Studies and
Philosophy.
Wo steht die Theatertheorie heute? Theaterkunst, die Institution
Theater oder Dramaturgie sind langst nicht mehr Gegenstande der
theoretischen Diskurse heute ist die AEsthetik in den Mittelpunkt
geruckt: Es geht um die Zusammenhange von Darstellung und
Verkoerperung, Wahrnehmung und Erfahrung, von Sprechen, Handeln und
Emotionen. Mit rund 120 Artikeln stellt das "Metzler Lexikon
Theatertheorie" diese Konzepte vor, gibt Einblick in
Forschungskontroversen und erlautert, was fur die Analyse von
Auffuhrungen relevant ist.
The paintings of Katharina Grosse can appear anywhere. Her
large-scale works are multi-dimensional pictorial worlds in which
walls, ceilings, objects, and even entire buildings and landscapes,
are coated with splendid color. For the exhibition It Wasn't Us,
the artist has transformed the Historic Hall of Hamburger Bahnhof -
Museum fur Gegenwart - Berlin, as well as the outdoor space behind
the building, into an expansive painting which radically
destabilizes the existing order of the museum architecture. The
painting's support consists of the floor of the hall and a group of
polystyrene forms designed specifically for the exhibition, which
Grosse transposed into their final size in several working stages
and through incremental changes of scale. The painting stretches
beyond the building's confines and into public space, onto the vast
grounds behind the museum, and across the facade of the
Rieckhallen. It Wasn't Us does not connect interior and exterior,
museum and environment, or culture and nature. Rather, it
renegotiates our viewing habits and our forms of thought and
perception. Katharina Grosse (*1961, Freiburg im Breisgau), one of
the most profiled female painters on the international contemporary
art scene, studied at the Kunstakademie Munster, as well as at the
Dusseldorf Academy, where she was also a professor from 2010 to
2018. Her works have been seen in renowned museums, including the
Museum of Fine Arts in Boston (2019), the National Gallery in
Prague (2018), the chi K11 art museum in Shanghai (2018), and MoMA
PS1 in New York (2016), and at several biennials and triennials,
including Aarhus (2017), Venice (2015), and Curitiba (2013).
EXHIBITION: Hamburger Bahnhof -Museum fur Gegenwart - Berlin, June
14, 2020-January 01, 2021
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