The Haunted Stage

Carlson, Marvin

doi:10.3998/mpub.17168

Cited by 265 publications

(11 citation statements)

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“…We can also point to myriad contemporary examples of variations on compelled attentions, such as work by Forced Entertainment or even Abramović herself. 21 However, as Carlson argues in The Haunted Stage, these attendances at the theater are informed by memories of earlier performances, 22 and Amelia Jones elaborates upon this point in her analysis of Abramović and reenactments:…”

Section: As Such Performance Does Not Disappear (Nor Does It Ever Apmentioning

confidence: 95%

Theater Is Media

Bay-Cheng¹

2012

Theater

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Section: As Such Performance Does Not Disappear (Nor Does It Ever Apmentioning

confidence: 95%

Theater Is Media

Bay-Cheng¹

2012

Theater

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“…Marvin Carlson also employs the term 'character recycling' to describe the changing features of characters and, at the same time, 'demonstrate those already known traits within changing situations'. 20 Whether recycled characters demonstrate some of the qualities that the playwright depicts, alterations may be essential to reflect on contemporary times. Recycled characters in Ein Volksfeind illustrate how they go through necessary changes to demonstrate how the play lives beyond the century in which it was written.…”

Section: Adaptation As Dramaturgy-in-progressmentioning

confidence: 99%

Ostermeier’s Ein Volksfeind on the Anniversary of Turkey’s Gezi Park Protests

Schulte¹

2020

New Theatre Quarterly

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In this article Hanife Schulte discusses Thomas Ostermeier’s Ein Volksfeind, a German version of Henrik Ibsen’s An Enemy of the People that toured to the International Istanbul Theatre Festival in 2014. In borrowing Maria Shevtsova’s notion of the sociology of performance, Hanife Schulte offers a sociological examination of Ein Volksfeind’s Istanbul performances and demonstrates how the first anniversary of Turkey’s Gezi Park protests at the time of the festival influenced the performances. These protests, which began in 2013, were in resistance to the Turkish government’s urban development plan for Istanbul’s Taksim Park. In her examination of the dramaturgy and stage design of the production and its Turkish reception, Schulte argues that Ein Volksfeind’s political dramaturgy-in-progress allowed Ostermeier to adapt its touring performances in Istanbul and transform them into events in which the Turkish audiences became fellow performers and adaptors who reflected on the Gezi Park protests. She also suggests that Ostermeier showed solidarity with the Turkish people resisting political violence and oppression in tackling their local politics. Hanife Schulte has completed three years of doctoral research in Theatre and Performance Studies at Tufts University and is an alumna of the Mellon School of Theater and Performance Research at Harvard University, where she participated in the 2019 Session on Migrations.

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“…Carlson explains that ghosting occurs when "audience members encounter a new but distinctly different example of a type of artistic product they have encountered before," and that in such an instance, ghosting presents the performance in a different context. 32 These ghostings occur in the minds of the audience, as a reencounter with something that has been seen or felt-either literally or abstractly-in a previous moment. At the battlefield, audience expectations of Globe staging-a specific relationship between audience and spectator-can influence their reception of the event.…”

Section: Absent/present Bodies: the (Re)performance Of The Pastmentioning

confidence: 99%

“The Ghosts Are Watching”: The Globe's Battlefield Performances ofHenry VI

Ball¹

2018

Theat Surv

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In the summer of 2013, Shakespeare's Globe, the company based at the Globe reconstruction in London, mounted productions of the three parts of Shakespeare's Henry VI at Wars of the Roses battlefield sites. The battlefield as performance space, with its rolling hills and buried corpses, mediated the temporal overlap of past and present, as contemporary bodies engaged with the construction of a historical narrative in the fictional play and the actual historical moments of the Wars of the Roses. The associations entrenched in the soil of these sites, the physical remains and histories of the past, encode a connective experience for the contemporary participants interacting with it. The battlefield site, then, is not just a site of historical significance—it is also a site of historical reenactment, where present bodies meet absent ones in the Globe's attempt to converge separated temporalities. The Globe framed the battlefield performances as a way of enlivening history by grounding well-worn Shakespearean texts in the places they represent. But the Globe, in collaboration with The Space, an online arts collective, also filmed the ten-hour marathon event at the Barnet battlefield, live-streamed, and then saved the performance to a digital archive. So the Globe displaced the site of their site-specific experience. Virtual spectatorship, a result of the Globe's efforts to increase access to their battlefield performances by making them available online, adds another layer of absence to the battlefield. The virtual spectator as absent spectator challenges the privileging of a physical viewing experience that the Globe's “open-air” project promotes. The displacement of site disrupts the relationships grounded in the material performance space and its geographical connections, and expands the understanding of site-specific by demonstrating how a specific relationship to place might be produced and maintained without physical access to a geographical location. Together with their placement at the historical sites and transmission into virtual spaces, the battlefield Henry VIs generate a multiplicity of shared viewing experiences. These shared experiences mediate the continuation of a (re)constructed historical and collective memory and highlight the role of spectatorship, both physical and virtual, in the formation of communal and national identity.

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The Haunted Stage

Cited by 265 publications

References 0 publications

Theater Is Media

Theater Is Media

Ostermeier’s Ein Volksfeind on the Anniversary of Turkey’s Gezi Park Protests

“The Ghosts Are Watching”: The Globe's Battlefield Performances ofHenry VI

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