Actualizing a Spectator Like You: The Ethics of the Intrusive-Hypothetical

Frieze, James

doi:10.1386/peet.3.1.7_1

Cited by 3 publications

(1 citation statement)

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“… Form oreo nt he interplayb etween Crouch'sa esthetics and spectators' involvement,s ee Bottoms (2009;, Freshwater (2011), Frieze (2013), Hubbard(2013), Radosavljević (2013: 151-161) and White( 2013:1 88 -194), as wella sC hristoph Henke'sc hapteri nt his volume. Crouch has also consistentlyi dentified spectators' engagement as crucial for his dramaturgy in interviews and public conversations (see e. g. Crouch( 2006;).…”

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confidence: 99%

“We’re All in This Together”: Reality, Vulnerability and Democratic Representation in Tim Crouch’s The Author

Delgado-García¹

2017

Of Precariousness

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confidence: 99%

“We’re All in This Together”: Reality, Vulnerability and Democratic Representation in Tim Crouch’s The Author

Delgado-García¹

2017

Of Precariousness

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Devising Ridiculusmus’ Total Football: a schematic reading of performance process

Talbot

2014

Studies in Theatre and Performance

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This article critically reflects on a series of drawings created during the devising process for Ridiculumus ' Total Football (2012). Ridiculusmus' production, a narrative of a non-sporty bureaucrat tasked with harnessing the enthusiasm of football fans in the interests of national cohesion, examines the impossibility of thorough incorporation of a national body within the Olympic mo(ve)ment.Based on an existing convention among football commentators for contextualizing and narrating team play, a series of photographs of sketches-in-process discussed here capture the marks of live notation as an urgent activity during devising. As such the reader has access to a snapshot from Ridiculusmus' rehearsal methods and process. The paper analyses the notation devices employed in the sketches arguing that the approximate qualities of sketched notation, and its failed totality, capture the tone of comedy in this work about masculine hubris. While the sketches attempt to keep pace with the spontaneity of tactics devised by performers, the paper argues that performance systems and dance notation that have paid attention to architecture and spatial arrangement as a score do not generally notate intention or strategy. The paper presents the idea that the sketches document a multiplicity of tactics, and footballing metaphor in process.The notation can be understood both as documentation of movement and a contribution to a theatrical and scenographic discourse that is concerned with more than a simple 'blocking.' The paper discusses the origins of 'self-blocking' in this production, its relation to a priori analysis of character and to unpredictable elements of game-playing in a piece about football.The paper discusses the way in which Ridiculumus tackle the inherent rigidity of the British class system through a metaphorical critique of the '4 4 2' team formation in football. With its wasteful habit of long ball passes, the formation has proven vulnerable against continental versatility, just as a bureaucratic class that resists meritocracy will not withstand more imaginative social structures elsewhere in the world. Finally, the article, which includes original photographs and diagrams, suggests that similar crude schema indicate a potential for digital software to expand on the score/ing function of dance notation and may be appropriate for devising in contemporary theatre.(358 words)

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A game of two halves: Participation, performance and All That is Wrong

Frieze¹

2013

studies in theatre and performance

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Actualizing a Spectator Like You: The Ethics of the Intrusive-Hypothetical

Cited by 3 publications

References 0 publications

“We’re All in This Together”: Reality, Vulnerability and Democratic Representation in Tim Crouch’s The Author

“We’re All in This Together”: Reality, Vulnerability and Democratic Representation in Tim Crouch’s The Author

Devising Ridiculusmus’ Total Football: a schematic reading of performance process

A game of two halves: Participation, performance and All That is Wrong

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