Performance in the Twenty-First Century

Lavender, Andy

doi:10.4324/9780203128176

Cited by 67 publications

(7 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…with overtly political themes'. 125 Rather, by making the representation itself real, they show reality-oriented performance to be a more provocative and potent approach than that earlier mode.…”

Section: Discussionmentioning

confidence: 97%

Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise

Young¹

2021

New Theatre Quarterly

View full text Add to dashboard Cite

Exceptional in demonstrating the political engagement emerging in twenty-first-century performance is the corpus of the writer and director Milo Rau, whose practice is distinguished by its (re)meditation of the real. With detailed reference to Mitleid (2016) and La Reprise (2018), this article examines Rau’s self-reflexive strategies in (re)presenting testimony or an event as a means not of depicting the real, but of making the theatrical representation itself real in order to change the world rather than merely to portray it. The article focuses in particular on strategies relating to the actor-character and spectatorship. Rau’s interest in the positions of the actor and spectator illuminates issues that have arisen in the discourse of theatre witnessing and in recent scholarship on dramaturgical approaches and spectatorship in contemporary political performance. Essentially, Rau makes the performer’s habitus transparent, and challenges the spectator’s reflexivity, effectively rebutting the largely unchallenged assumption that characters who perform witnesses necessarily leave little room for the spectator to be a performing witness. Stuart Young is Professor of Theatre Studies at the University of Otago. His recent publications include the co-edited Ethical Exchanges: Translation, Adaptation, Dramaturgy (Brill Rodopi, 2017), while his practice-led research into Theatre of the Real includes The Keys are in the Margarine: A Verbatim Play about Dementia (2014).

show abstract

Section: Discussionmentioning

confidence: 97%

Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise

Young¹

2021

New Theatre Quarterly

View full text Add to dashboard Cite

show abstract

“…Aquesta idea també sorgeix de la definició que Jürgen Habermas (1989) dona de l'esfera pública com "l'esfera de persones privades que s'uneixen en un públic", és a dir, l'esfera que es construeix a través de la interacció dinàmica entre l'esfera íntima i la pública. Andy Lavender (2016), que defensa el creixement de les "esferes públiques plurals, en lloc d'un sol espai regulat de consens discursiu" (ibid., 41-42), desenvolupa encara més aquesta incursió de la privacitat o la intimitat com un tret indispensable del que és públic.…”

Section: Polítiques De La Cura I Pràctiques De Disseny íNtim En Conte...unclassified

“…Esta idea también parte de la definición de Jürgen Habermas (1989) de la esfera pública como "la esfera de personas privadas que se unen en un público", es decir, la esfera que se construye a través de la interacción dinámica entre la esfera íntima y la pública. Esta incursión de lo privado o lo íntimo como un rasgo indispensable de lo público queda desarrollada más aún por Andy Lavender (2016), quien defiende el crecimiento de las "esferas públicas plurales, en lugar de un solo espacio regulado de consenso discursivo" (ibid., 41-42).…”

Section: Políticas Del Cuidado Y Prácticas íNtimas De Diseño En Conte...unclassified

Affective Bodies: Intimate Design Practices to Reinvent the Everyday

Paez

Valtchanova

2022

TdD

View full text Add to dashboard Cite

This article investigates some of the implications of intimate design practices by presenting two academic projects carried out within the context of an uncertain present. It argues that design practices have the capacity to foster intimacy and affect through the lens of the politics of care. Drawing on the notion of affective bodies, the authors claim that design can explore new paths to reinvent the everyday, focusing on recent crisis-ridden contexts. The article examines how intimate practices that reformulate everyday politics can reclaim temporality, active citizenship and radical affectivity as infrastructural needs in contemporary urban habitats. The two case studies date from March 2020 through December 2021 under the climate of crisis brought about by the sudden outbreak of the COVID-19 pandemic in Western Europe and the ongoing Mediterranean refugee crisis. Given the escalation of the blurring between the private and public spheres, the personal and the political, it is especially relevant to explore intimacy as a means of enacting politically empowered action through design. Both case studies aim to temporarily interrupt conventional uses of collective urban spaces in order to generate pockets of resistance that explore the subliminal potentials of urban spaces and allow us to imagine, and even experience, different ways of living through an updated lens of care. These irruptions of intersubjective appropriations of urban spaces not only have an emblematic impact, but also a cumulative effect by generating a growing network of affective bodies in action. This emergent affective network offers relevant opportunities for the transformation of crisis-ridden urban contexts through dynamic interactions between sociality and spatiality.

show abstract

“…[34]). In fact, one of the early conceptualisations of 21st century performance as a whole [30] folds 'intermediality' and 'hybridity' into its description of a cultural phenomenon that constructs a sensorium around everyone experiencing it-and, moreover, that performance of today tends to strive towards relational, even intimate (e.g. [13]) experiences.…”

Section: Liveness Beyond Hcimentioning

confidence: 99%

Producing Liveness

Benford

Mansfield

Spence

2021

Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems

View full text Add to dashboard Cite

The global pandemic has driven musicians online. We report an ethnographic account of how two traditional folk clubs with little previous interest in digital platforms transitioned to online experiences. They followed very different approaches: one adapted their existing singaround format to video conferencing while the other evolved a weekly community-produced, pre-recorded show that could be watched together. However, despite their successes, participants ultimately remained unable to 'sing in chorus' due to network constraints. We draw on theories of liveness from performance studies to explain our findings, arguing that HCI might orientate itself to online liveness as being co-produced through rich participatory structures that dissolve traditional distinctions between live and recorded and performer and audience. We discuss how participants appropriated existing platforms to achieve this, but these in turn shaped their practices in unforeseen ways. We draw out implications for the design and deployment of future live performance platforms. CCS CONCEPTS • Human-centered computing • Human computer interaction (HCI) • Empirical studies in HCI

show abstract

Performance in the Twenty-First Century

Cited by 67 publications

References 0 publications

Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise

Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise

Affective Bodies: Intimate Design Practices to Reinvent the Everyday

Producing Liveness

Contact Info

Product

Resources

About