the body of doctrine that teaches people how to speak and write and thus act effectively in public life
rhetoric has become the [opposite] of the "true" and "real"...the opposite of sincerity, truth and good intentions
"We cannot at the same time experience the artistic content of a Beethoven sonata and alos worry about the neurophysiological processes in our brains...But we can shift from one to another"
Why does this fundamental oscillation lurk, an outcast, without a name?
Wednesday, 5 December 2007
What's new about digital expressive space and what's not?
Economics...studies the allocation of scarce resources....we live in an "information economy". But information is not in short supply in the new information economy. We#re drowning in it. What we lack is human attention to make sense of it all. It will be easier to find our place in the new regime if we think of it as an economy of attention. Attention is the economy in short supply. (x1)
Economics...studies the allocation of scarce resources....we live in an "information economy". But information is not in short supply in the new information economy. We#re drowning in it. What we lack is human attention to make sense of it all. It will be easier to find our place in the new regime if we think of it as an economy of attention. Attention is the economy in short supply. (x1)
fighter cockpit
The fighter cockpit exemplifies the theatrical space of the digital world, and if the critics have not seen this, the video game designers certainly have.
Wednesday, 28 November 2007
Project
Practical Project
Each student will take part in a group performance/workshop project and presentation pertaining to Virtuality and Performance.
A successful practical performance project should demonstrate the following qualities and characteristics:
• Clear evidence of detailed research into and an informed understanding of the theories and approaches pertaining to the chosen area.
• Sustained and serious engagement with the relevant issues or themes relating to the chosen area
• Fair and equitable participation by all group members in its process and final performance.
• Clear, informed and sensitive use of performance skills any other relevant theatrical/presentational devices/aids.
• A sound sense of engagement with and communication to its audience.
The themes and issues for the projects will arise from both staff and student groups sharing and discussing ideas and concerns. Selection of material and the direction of the piece should be collaborative, subject to the final approval of the module co-ordinator.
Each student will take part in a group performance/workshop project and presentation pertaining to Virtuality and Performance.
A successful practical performance project should demonstrate the following qualities and characteristics:
• Clear evidence of detailed research into and an informed understanding of the theories and approaches pertaining to the chosen area.
• Sustained and serious engagement with the relevant issues or themes relating to the chosen area
• Fair and equitable participation by all group members in its process and final performance.
• Clear, informed and sensitive use of performance skills any other relevant theatrical/presentational devices/aids.
• A sound sense of engagement with and communication to its audience.
The themes and issues for the projects will arise from both staff and student groups sharing and discussing ideas and concerns. Selection of material and the direction of the piece should be collaborative, subject to the final approval of the module co-ordinator.
(b)Log
Working Evaluative Log
Each student will accompany their group work in the practical project with a Working Evaluative Log to be submitted in blog format by Jan 11, 2008.
The Working Evaluative Log should include the following:
• A description of the role the individual took in development of the project (ideas, rehearsal activities, research, organisation, etc.)
• Detailed, self-critical, evidenced evaluation of and reflection upon the creative process.
• Evidence of detailed research into and reflection on the area of Virtuality and Performance focused on and the established methods appropriated for this project.
The Log might be structured in the following way:
• Dated, weekly, diary account notes, thoughts, responses and reflections upon what you’ve read and/or viewed in the seminars as well as what you’ve done/achieved etc in your practical workshops.
• Neatly photocopied articles, etc. that you’ve researched/consulted and read with clear details of their date and origin.
• A final detailed conclusive account of your learning journey – insights, excitements, difficulties, tasks, frustrations, achievements etc.
Each student will accompany their group work in the practical project with a Working Evaluative Log to be submitted in blog format by Jan 11, 2008.
The Working Evaluative Log should include the following:
• A description of the role the individual took in development of the project (ideas, rehearsal activities, research, organisation, etc.)
• Detailed, self-critical, evidenced evaluation of and reflection upon the creative process.
• Evidence of detailed research into and reflection on the area of Virtuality and Performance focused on and the established methods appropriated for this project.
The Log might be structured in the following way:
• Dated, weekly, diary account notes, thoughts, responses and reflections upon what you’ve read and/or viewed in the seminars as well as what you’ve done/achieved etc in your practical workshops.
• Neatly photocopied articles, etc. that you’ve researched/consulted and read with clear details of their date and origin.
• A final detailed conclusive account of your learning journey – insights, excitements, difficulties, tasks, frustrations, achievements etc.
Essay topics
Essay Topics:
• Can theatre compete with other forms of media in the digital age? Should it try? Discuss with reference to the work of contemporary theatre practitioners engaged with ‘intermedial’ work.
• What is the role of virtual performance in performative societies? Discuss with reference to the work of contemporary practitioners engaged in ‘virtual theatre’.
• Can theatre compete with other forms of media in the digital age? Should it try? Discuss with reference to the work of contemporary theatre practitioners engaged with ‘intermedial’ work.
• What is the role of virtual performance in performative societies? Discuss with reference to the work of contemporary practitioners engaged in ‘virtual theatre’.
Wednesday, 21 November 2007
peter boenisch
I suggest that theatre turns into a new medium whenever new media technologies become dominant and in addition that theatre adapts and disperses the new cognitive strategies as it did in ancient greece
Bolter and Grusin
a medium is that which remediates...it is that which appropriates the techniques, forms and social significance of other media and attempts to rival of refashion them in the name of the real....
Marshall McLuhan
[Mediation] translates and transforms the sender receiver and message. The use of any kind of medium or extension of man alters the patterns of interdependence among people, as it alters the ratios among our senses...
Walter Benjamin
During long periods of history, the mode of human sense perception changes with humanity's entire mode of existence. The manner is which human sense perception is organised, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well
Tuesday, 13 November 2007
Communication > Theatre
key developments in the history of performance and theatre throughout the world are related to key developments in modes of human communication
Zarrilli et al
Zarrilli et al
Theatre as home within media space
...it is never possible to stand back and view the whole structure because we are all in it and operative within it...we operate in the sensual spaces between media...theatre is a hypermedium for all the separate elements awaiting the activating and organising mind and body of the perceiver...
theatre has become a hypermedium and a home to all. It provides space where the art forms of theatre, dance and opera meet interact and integrate with the media of cinema, television and the new technologies; creating profusions of texts, intertexts, inter-media and spaces in-between....
intermediality [is a] meeting point in-between the performers, the observers, and the confluence of media involved in a performance at a particular moment in time, with theatre providing the staging space
Chapple and Kattenblatt
theatre has become a hypermedium and a home to all. It provides space where the art forms of theatre, dance and opera meet interact and integrate with the media of cinema, television and the new technologies; creating profusions of texts, intertexts, inter-media and spaces in-between....
intermediality [is a] meeting point in-between the performers, the observers, and the confluence of media involved in a performance at a particular moment in time, with theatre providing the staging space
Chapple and Kattenblatt
Cheer(s)!
give a cheer that the live voice can still provoke emotion - even one of fear
Chapple and Kattenblatt
Chapple and Kattenblatt
Theatre - a picnic?
You have two kinds of shows on Broadway - revivals and the same kinds of musicals over and over again - all spectacles. You get your tickets for the Lion King a year in advance, and essentially a family comes as if to a picnic, and they pass on to their children the idea that that's what theatre is - a spectacular musical you see once a year, a stage version of a movie. It has nothing to do with theatre at all. It has to do with seeing what is familiar. We live in a recycled culture...I don't think the theatre will die per se, but it's never going to be what it was. You can't bring it back. It's gone. It's a tourist attraction.
Stephen Sondheim
Stephen Sondheim
Is Theatre a media colony?
Purveyors of media technology have attempted to colonise contemporary America [read: the world]. Given its efforts to compete with the dominant form and content of the media, theatre has apparently agreed to this colonisation. It is also clear that this colonisation has infused theatre practice and scholarship with the need to investigate its own place and shape in relation to the dominant medium. The very nature of this investigation opens a door to the consideration that theatrical presence can be a perception, a constructed aura agreed by the public and used by theatre to compete in a mediatised world.
Amy Jensen, 2007
Amy Jensen, 2007
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