Getting Started: An Approach to Relating Practical and Critical Work

Lacey, Stephen; Pye, Doug

doi:10.1080/13575341.1994.10806890

Cited by 2 publications

(3 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The 'potato workshop', in its apparent simplicity, gave rise to a variety of provocations with both theoretical and practical implications. Drawing on the work of Stephen Lacey and Doug Pye (1994), this article considers some possible implications of the TaPRA workshop in terms of the teaching of the theory/practice relation in theatre and performance studies.Performance is understood in a broad sense, and encompasses the totality of means by which meaning is created in theatre. The kind of approach needed to analyse performance -and establish a necessary critical base -recognises that performance has a material existence, is essentially constructed and (essentially) pre-planned and the result of a complex series of decisions and choices.…”

mentioning

confidence: 99%

mentioning

confidence: 99%

“…Such an approach is also necessarily structural; that is, it is concerned, at least initially, to establish how a performance is addressing us, the ways in which the many different kinds of information that even the simplest performance contains are organised and patterned. (Stephen Lacey and Doug Pye 1994) In order to be perceived as sound, an action must take place in a volume of air and there must be ears to hear the ripples. In order to be perceived as light, an object or substance in space must be illuminated and there must be eyes to see it.…”

mentioning

confidence: 99%

See 2 more Smart Citations

Beyond the black box

Smith¹

2007

Studies in Theatre and Performance

View full text Add to dashboard Cite

The second annual TaPRA conference (CSSD September 2006) made space for the exploration of some interesting issues, and offered the opportunity for academics, practitioners and educationalists to come together to review praxis in the context of current debates and ideas. The particular focus for the Scenography and Visual Performance Working Group, this time round, was the status and role of lighting and sound in the construction and de-construction of the scene; and the Working Group responded to this challenge through practice, in an effort to facilitate an environment that -bringing together the semiotic and the scenographic -would support the meaningful exchange of ideas and the location of a shared vocabulary through which they could be explored. The 'potato workshop', in its apparent simplicity, gave rise to a variety of provocations with both theoretical and practical implications. Drawing on the work of Stephen Lacey and Doug Pye (1994), this article considers some possible implications of the TaPRA workshop in terms of the teaching of the theory/practice relation in theatre and performance studies.Performance is understood in a broad sense, and encompasses the totality of means by which meaning is created in theatre. The kind of approach needed to analyse performance -and establish a necessary critical base -recognises that performance has a material existence, is essentially constructed and (essentially) pre-planned and the result of a complex series of decisions and choices. We must regard a performance as a text which creates a fictional world that represents and interprets the 'real' one, and which can be subjected to rigorous analysis, as any poem, novel or written dramatic text can. Such an approach is also necessarily structural; that is, it is concerned, at least initially, to establish how a performance is addressing us, the ways in which the many different kinds of information that even the simplest performance contains are organised and patterned. (Stephen Lacey and Doug Pye 1994) In order to be perceived as sound, an action must take place in a volume of air and there must be ears to hear the ripples. In order to be perceived as light, an object or substance in space must be illuminated and there must be eyes to see it.Given these conditions, no object or effect may accurately be described as purely a phenomenon of light or sound. To know patterned energy as either 185 STP 27 (2) 185-193

show abstract

mentioning

confidence: 99%

mentioning

confidence: 99%

mentioning

confidence: 99%

See 1 more Smart Citation