AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: MARINA CRISTEA.
VIEW PDF: DRAMATIC SPACE AND PERFORMER’S BODY, A CASE STUDY
Mediated images alter the perception of the real, then again, they emphasize themselves in a dynamic manner arising critical attitude, for they compel the spectator to consider all the images entering his/her visual field, and to integrate them into his/her own reference system. As recorded images offer the possibility of simultaneous representation of parts of actors’ bodies, an interaction between virtual images and real / optical images occurs, interaction which, whether demonstrates itself compulsory, acquires a powerful dramatic finality, since the existence of a viable relation between the stage images, either virtual or real, is a sine qua non dramatic condition.
Keywords: performer’s body, degree of presence, subjective reality displacement, field of perception, mixed media performance, media oriented design.
References:
Ansell-Pearson, K., ”Viroid Life. On Machines, Technics and Evolution”, in Deleuze and Philosophy. The Difference Engineer, Routledge, London-New York, 1997, 180-229
Armstrong, R., Cretan Women. Pasiphae, Ariadne and Phaedra in Latin Poetry, Oxford U.P., 2006
Aronson, R., Looking into the Abyss. Essays on Scenography, Theatre Theory and Text Performance, Routledge, 2005
-„The Power of Space in a Virtual World”, 23-35 in Dorita Hannah – Olav Harsløf (ed.), Performance Design, Museum Tusculum, Copenhagen, 2008
Augoustakis, A., review of R. Armstrong 2006, The Classical Review, vol. 57, no. 2, 2007, 416-417
Aumont, J., L’image, Nathan, Paris, 1990
Banu, G., Ultimul sfert de secol teatral. O panoramă subiectivă (The last quarter of century of the theatre. A subjective panorama) , D. Voicu (transl.), Paralela 45, Piteşti, 2003
Barthes, R., Image – Music - Text, S. Heath (transl.), Fontana Press, London, 1977
-Camera lucida. Reflections on Photography, R. Howard (transl.), Hill & Wang, New York, 1982
-The Rustle of Language, R. Howard (transl.), California U.P., Berkeley-Los Angeles, 1986
Baudrillard, J., Simulacra and Simulation, Sh. F. Glaser (transl.), Michigan UP, 1995
Berger, J., Ways of seeing, BBC - Penguin Books, London, 1972
Causey, M., Theatre and Performance in Digital Culture, Routledge, London-New York, 2006
Coté, M., “Technics and the Human Sensorium: Rethinking Media Theory through the Body”, Theory & Event, vol. 13, no. 4, 2010, 21-30
Crary, J., Suspension of Perception. Attention, Spectacle and Modern Culture, MIT Press, Cambridge, 2001
Gibson, J.J., The Ecological Approach to Visual Perception, Taylor & Francis Group, New York, 1986
Groys, B., Art Power, MIT Press, Cambridge MA, 2008
Grübel, R., Grüttemeier, R., Lethen, H., Orientierung Literaturwissenschaft, Rowohlt, Hamburg, 2001
Hall, E.T., The Hidden Dimension, Anchor Books-Doubleday, New York, 1990 (a reprint of the 1966 edition)
Innis, R.E., “Technics and the Bias of Perception: the Tacit Logic of Embodied Meanings”, in Pragmatism and the Forms of Sense, Pennsylvania U.P. 2002, 131-166
Jay, M., Downcast Eyes. Denigration of Vision in Twentieth-Century French Thought, University of California Press, Berkeley-Los Angeles-London, 1994
Kershaw, B., Nicholson, H. (eds.), Research Methods in Theatre and Performance, Edinburgh UP, 2011
Laslo, M., ”Un experiment pe multiple planuri - Iubirea Fedrei” (“An Experiment on Multiple Levels – Phaedra’s Love), Man.In.Fest, no. 1/2007
De Mèredieu, F., Digital and Video Art, Chambers Harrap Publishers, 2005
Modreanu, C., The Ever Changing Space, Bybliotek, Cluj-Napoca, 2010
Oberender, Th., „Mehr jetzt auf der Bühne”, Theater Heute 4, 2004
Ourdat, J.-P., Cahiers du cinéma 1969-1972 (The Politics of the Representation) , vol. III, N. Brown (ed.), pp. 189-202 / “L’effet de réel”, Cahiers du cinéma, no. 228, 1971, 19-28
Pavis, P., Dictionary of the Theatre: Terms, Concepts, and Analysis, Chr. Shantz (trans.), Toronto and Buffalo: University of Toronto Press, 1998
Phelan, P., Unmarked. The Politics of Performance, Routledge, London-New York, 1996
Soja, Ed. W., ”Thirdspace: expanding the scope of the geographical imagination” in A. Read (ed.), Architecturally speaking: practices of art, architecture, and the everyday, Routledge, London-New York, 2000, 13-30
Slorerdijk, P., Critique of Cynical Reason, M. Eldred (transl.), Minneapolis, 1987
Thies Lehmann, H., Postdramatic Theatre, K. Jürs – Munby (transl.), Routledge, London, 2006
Urban, K., ”An Ethics of Catastrophe: The Theatre of Sarah Kane”, PAJ (A Journal of Performance and Art) , vol. 23, no. 3 (Sept. 2001), 36-46
Van Den Berg, K., ”Scenography and Submedial Space: Frank Castorf’s Final Destination America (2000) and Forever Young (2003) at the Volksbühne Berlin”, Theatre Research International, vol. 32, no. 1, 2006, 49–67
Virilio, P., The Vision Machine, J. Rose (transl.), Indiana U.P., Bloomington, 1994
Published Online: 2015-10
References:
Ansell-Pearson, K., ”Viroid Life. On Machines, Technics and Evolution”, in Deleuze and Philosophy. The Difference Engineer, Routledge, London-New York, 1997, 180-229
Armstrong, R., Cretan Women. Pasiphae, Ariadne and Phaedra in Latin Poetry, Oxford U.P., 2006
Aronson, R., Looking into the Abyss. Essays on Scenography, Theatre Theory and Text Performance, Routledge, 2005
-„The Power of Space in a Virtual World”, 23-35 in Dorita Hannah – Olav Harsløf (ed.), Performance Design, Museum Tusculum, Copenhagen, 2008
Augoustakis, A., review of R. Armstrong 2006, The Classical Review, vol. 57, no. 2, 2007, 416-417
Aumont, J., L’image, Nathan, Paris, 1990
Banu, G., Ultimul sfert de secol teatral. O panoramă subiectivă (The last quarter of century of the theatre. A subjective panorama) , D. Voicu (transl.), Paralela 45, Piteşti, 2003
Barthes, R., Image – Music - Text, S. Heath (transl.), Fontana Press, London, 1977
-Camera lucida. Reflections on Photography, R. Howard (transl.), Hill & Wang, New York, 1982
-The Rustle of Language, R. Howard (transl.), California U.P., Berkeley-Los Angeles, 1986
Baudrillard, J., Simulacra and Simulation, Sh. F. Glaser (transl.), Michigan UP, 1995
Berger, J., Ways of seeing, BBC - Penguin Books, London, 1972
Causey, M., Theatre and Performance in Digital Culture, Routledge, London-New York, 2006
Coté, M., “Technics and the Human Sensorium: Rethinking Media Theory through the Body”, Theory & Event, vol. 13, no. 4, 2010, 21-30
Crary, J., Suspension of Perception. Attention, Spectacle and Modern Culture, MIT Press, Cambridge, 2001
Gibson, J.J., The Ecological Approach to Visual Perception, Taylor & Francis Group, New York, 1986
Groys, B., Art Power, MIT Press, Cambridge MA, 2008
Grübel, R., Grüttemeier, R., Lethen, H., Orientierung Literaturwissenschaft, Rowohlt, Hamburg, 2001
Hall, E.T., The Hidden Dimension, Anchor Books-Doubleday, New York, 1990 (a reprint of the 1966 edition)
Innis, R.E., “Technics and the Bias of Perception: the Tacit Logic of Embodied Meanings”, in Pragmatism and the Forms of Sense, Pennsylvania U.P. 2002, 131-166
Jay, M., Downcast Eyes. Denigration of Vision in Twentieth-Century French Thought, University of California Press, Berkeley-Los Angeles-London, 1994
Kershaw, B., Nicholson, H. (eds.), Research Methods in Theatre and Performance, Edinburgh UP, 2011
Laslo, M., ”Un experiment pe multiple planuri - Iubirea Fedrei” (“An Experiment on Multiple Levels – Phaedra’s Love), Man.In.Fest, no. 1/2007
De Mèredieu, F., Digital and Video Art, Chambers Harrap Publishers, 2005
Modreanu, C., The Ever Changing Space, Bybliotek, Cluj-Napoca, 2010
Oberender, Th., „Mehr jetzt auf der Bühne”, Theater Heute 4, 2004
Ourdat, J.-P., Cahiers du cinéma 1969-1972 (The Politics of the Representation) , vol. III, N. Brown (ed.), pp. 189-202 / “L’effet de réel”, Cahiers du cinéma, no. 228, 1971, 19-28
Pavis, P., Dictionary of the Theatre: Terms, Concepts, and Analysis, Chr. Shantz (trans.), Toronto and Buffalo: University of Toronto Press, 1998
Phelan, P., Unmarked. The Politics of Performance, Routledge, London-New York, 1996
Soja, Ed. W., ”Thirdspace: expanding the scope of the geographical imagination” in A. Read (ed.), Architecturally speaking: practices of art, architecture, and the everyday, Routledge, London-New York, 2000, 13-30
Slorerdijk, P., Critique of Cynical Reason, M. Eldred (transl.), Minneapolis, 1987
Thies Lehmann, H., Postdramatic Theatre, K. Jürs – Munby (transl.), Routledge, London, 2006
Urban, K., ”An Ethics of Catastrophe: The Theatre of Sarah Kane”, PAJ (A Journal of Performance and Art) , vol. 23, no. 3 (Sept. 2001), 36-46
Van Den Berg, K., ”Scenography and Submedial Space: Frank Castorf’s Final Destination America (2000) and Forever Young (2003) at the Volksbühne Berlin”, Theatre Research International, vol. 32, no. 1, 2006, 49–67
Virilio, P., The Vision Machine, J. Rose (transl.), Indiana U.P., Bloomington, 1994
Published Online: 2015-10
