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Bertolt brecht influence on theatre
Brecht on his theory of theater
Brecht on his theory of theater
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Initial Title: Dramatic shift in Live Performance strategies within digital environments
Alternative titles:
-Evaluating performance methodologies through the use of different media
-Synchronicity of visual and stage mediums and their impact on performance
Questions to explore:
1. The use of alternative media within the structure of live performance in order to represent parralel realities
2. The concept of space and time of the different mediums.
3. People’s perception of reality has changed. Therefore, the creative arts need to adapt to the shift by communicating on various platforms and combining modes of expression
4. The importance of reviving stage productions and creating new forms of artistic products
5. Possible ways of unifying live audience experience with passive spectator identification
6. One stage, one story from different personal perspectives combining various techniques and media
7. Is there a way of combining the modes of expression and experiences of Cinema, Theatre and Television?
8. Performance styles and their relations to text, audience, space and medium
9. Multimedia storytelling on stage: Multi-dimential story with non-linear format (different parts of the story told using different media)
The aim of this PhD research paper is to explore the role of the performer within existing stage, film and Television media in relation to the emerging digital and virtual platforms. While the contemporary digital environments stipulate the necessity to merge live performance with technology and to re-evaluate the spatial relationship between actor and spectator, there is nonetheless the need for the performer to redirect his/her focus on moral responsibility and personal integrity as an artist...
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...ctor Prepares. Redwood Burn Limited: Great Britain
Tucker, P. 2003. Secrets of Screen Actin. Routledge: New York and London
Willett, John. 1967. The Theatre of Bertolt Brecht: A Study from Eight Aspects. Third rev. ed. London: Methuen, 1977
Wood,R. 1999. “Ideology, Genre, Auteur”. IN: Film Theory and criticism (ed) Leo
Braudy and Marshal Cohen, Oxford University Press: London
The Wooster Group: »THERE IS STILL TIME.. BROTHER«
Directed by Liz LeCompte.
Developed with Jeffrey Shaw for his interactive panoramic cinema (360).
Commissioned by EMPAC, the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute [USA]. Produced by EMPAC together with the UNSW iCinema Centre for Interactive Cinema Research [AUS], and the ZKM | Institute for Visual Media [D] and in collaboration with The Wooster Group.
...re as same as the audience use in their everyday life. Easily connecting to the audience, with visual, audio and performer’s performance” one can imagine himself/herself in performer’s shoes.
Thom, P (1992), For an Audience: A Philosophy of the Performing Arts (Arts and Their Philosophies), Temple University Press
Mise en scene is a French theatrical term meaning “placing on stage,” or more accurately, the arrangement of all visual elements of a theatrical production within a given playing area or stage. The exact area of a playing area or stage is contained by the proscenium arch, which encloses the stage in a picture frame of sorts. However, the acting area is more ambiguous and acts with more fluidity by reaching out into the auditorium and audience. Whatever the margins of the stage may be, mise en scene is a three dimensional continuation of the space an audience occupies consisting of depth, width, and height. No matter how hard one tries to create a separate dimension from the audience, it is in vain as the audience always relates itself to the staging area. Mise en scene in movies is slightly more complicated than that of an actual theater, as it is a compilation of the visual principles of live theater in the form of a painting, hence the term “motion picture.” A filmmaker arranges objects and people within a given three-dimensional area as a stage director would. However, once it is photographed, the three-dimensional planes arranged by the director are flattened to a two-dimensional image of the real thing. This eliminates the third dimension from the film while it is still occupied by the audience, giving a movie the semblance of an audience in an art gallery. This being so, mis en scene in movies is therefore analogous to the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame with the addition of that image having the ability to move freely within its confines. A thorough mise en scene evaluation can be an analysis of the way things are place on stage in...
Gallagher, T. 2002. Senses of Cinema – Max Ophuls: A New Art – But Who Notices?. [online] Available at: http://sensesofcinema.com/2002/feature-articles/ophuls/ [Accessed: 8 Apr 2014].
middle of paper ... ... In final analysis, the motion picture is the one that goes deeper inside the spectator’s mind. Other mediums such as still picture and theatrical play also provide the visual and aural elements for the spectator, yet they seem to be inferior to the motion picture in that they lack the reality, affinity, and creativity in terms of use of time and space. The levels of emotions such as attention, memory, imagination, emotion, and unity, which were introduced by Munsterberg, indicates how the spectator perceives the elements of the film and ends up with it.
Through providing a micro-level analysis of the “self” through theatrical dramaturgy, Goffman supplies an adequate account of how modification of the “self” happens via performance. Taking parallel theories and ideas, each author builds upon the arguments of the other and Goffman provides enough detailed examples of social development through performance to satisfy the treatises of Berger and Luckmann’s account. Therefore, the arguments of Goffman and Berger and Luckmann work best when combined, giving us the most insight into the “self.”
Whereas in dramatic theatre the performance evolved around the text, in postdramatic theatre all theatrical signs have equal roles in the performance and, therefore, the text looses its position of hierarchy. This rupture with the text challenges postdramatic theatre to move away from truthful representation, allowing it to explore new possibilities, among which, the the equivalence of theatrical signs (these being word, image and sound). Hence, by distancing itself from the text, postdramatic theatre comes with the loss of both narration and alit, leading away from theatrical illusion. This change allows the body and its physicality to gain more freedom as its movements and gesture are not in service of mimesis, and therefore they become “pure forms” that “have to be considered as an absolute construction of formal elements as they do not represent mimesis of reality”. The theatre of “pure forms” is called “concrete theatre” and allows performances to “adhere solely to their low of internal composition”. This feature embodies the new aesthetic of postdramatic theatre where theatre “exposes itself as an art in space, in time, with human bodies with all the means included in the entire art work”. Postdramatic theatre, therefore, concentrates on formalization and presentation rather than on content. This shift causes a “phenomenology of perception” where the audience, left without elements of mimesis and fiction, becomes active and creates similarities, correlations and correspondences between elements of the performance through the process of
When I think of theatre, I think of it as a form of expression. This idea was supported by all three clips. This can be said because, in “The Playboy of the Western World,” we saw the use of an older form of dialogue to tell a story. In “Nightwalk”, the use of facial expressions, body movement, and noise was used to depict excitement, show curiosity, or aid in narration. Furthermore, with “The Rockaby” a poetic and metaphoric narration was used. And with “Beijing Opera Performance,” props and bells were used to tell a story. All of this to show how versatile and creative theatre truly is. It can range from simple to abstract. With that being said, one this that was discussed in the “Three Actor- Audience Relationships” was the interaction
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
Berliner, Todd and Cohen, Dale J. "The Illusion of Continuity: Active Perception and the Classical Editing System." Journal of Film and Video 63.1 (2011): 44-63. Project MUSE. Web. 14 Feb. 2011. .
Virtual art is the product of long-standing traditions in art merged with revolutionary technological advances. With innovations emerging almost as fast as end-users can test and master new systems, technology has dramatically altered our daily lives and changed our thought processes. Like many technological advances, virtual and cyber realities have been embraced, and often created by, artists that experiment with the myriad of possibilities that technology can offer. While there have been many works of art inspired and created by means of digital advances, the medium has yet to be defined and its boundaries have not yet been identified. Since technology and virtual art are just beginning to be explored, the medium is in its infancy and thus cannot be judged based upon traditional mores of art. Before virtual art can achieve prominence and respect within the art world, many barriers of tradition must first be abolished.
In this article, Jones discusses the marginalization of motion pictures, yet touches on the great aspects of film, and how these aspects can expect to survive in the future. Major topics that Jones addresses are: developments in video narrative through flawless storytelling, the use of digital tools for film restoration and preservation, and an audience shift from film to digital. These points detail the love and appreciation that goes into filmmaking, and how the narratives, despite having changed formats throughout the years, have been able to survive and appear to be timeless. Jones also further discusses the idea of using audiovisual material to create narratives appealing. He details how the stylistic approach of a film, and the techniques like cinematography and editing, can enhance and provide for a greater narrative. In summary, the sum of the parts of a film are what make the entire experience, which not only makes for a great film, but for a lasting story as
Performance art fluctuates between boundaries of all art. Its conceptual territory lies within the contradiction, the ambiguity and the extreme, making it difficult to define borders.
Nevertheless, the question at hand is whether theatre will have a role in the society of the future, where cinema, digital television, and computers will continue to expand and grow. The answer to this question is yes. Heading into the 21st century, theatre will only be a fraction in a solid media industry. However, despite all the excitement technology brings with it, they will never replace theatre because it has something that can not be recreated or offered anywhere else. The cinema and its larger than life world appeals as an affordable alternative. Digital television provides digital interaction between the viewer and the producer. Theatre on the other hand, and its contents may take on a larger dimension, but we receive it directly in flesh and blood – one to one. The magical atmosphere between an actor and spectator who are constantly aware of each other and the theatre’s level of engagement is fundamentally more human and far more intimate.
Theatre is a more language driven medium, while movies and television are driven by what you see. Theatre relies solely on excellent script, and acting. Theatre has a live element, a more heightened sense of realism. Some argue that we are losing the very essence of theatre, its live-ness, because of recorded media seeping into plays and performances (Trueman). With technology things can more easily go wrong. Lyn Gardner says that if the show relies too heavily on technology, it can cause performances to be canceled completely due to technical glitches that instead of adding to performances, the technology has become the show. The spectacle has began to make actors obsolete, leaving the audience to feel alienated and passive to the performance rather than part of it as they should feel