Media Archaeology and Intermedial Performance: Deep Time of the Theatre

by Nele Wynants (Editor)

Overview

This book develops media archaeological approaches to theatre and intermediality. As an age-old art form, theatre has always embraced ‘new’ media. To create theatrical effects and optical illusions, theatre makers were ready to integrate state-of-the-art technics and technologies, and by doing so they playfully explored and popularized scientific knowledge on mechanics, optics and sound for live audiences. This book highlights this obvious but often overlooked relation between media developments and the history of intermedial theater. By considering the interplay between present intermedial performances and their archaeological traces, the authors assembled here revisit old and often forgotten media approaches and theatre technologies. This archaeology is understood less as the discovery of a forgotten past than as the establishment of an active relationship between past and present. Rather than treating archaeological remains as representative tokens of a fragmented past that need tobe preserved, the authors stress the return of the past in the present, but in a different, performative guise.

Product Details

ISBN-13:	9783319995762
Publisher:	Palgrave Macmillan
Publication date:	12/30/2018
Series:	Avant-Gardes in Performance
Sold by:	Barnes & Noble
Format:	eBook
File size:	41 MB
Note:	This product may take a few minutes to download.

About the Author

Nele Wynants is a postdoctoral researcher in the fields of art and theatre at the Free University of Brussels-ULB and the University of Antwerp, Belgium. Her work on the interplay of performance, media history and science have appeared in many journals and books. She is editor-in-chief of FORUM+ for Research and Arts.

Table of Contents

1. Media-archaeological Approaches to Theatre and Performance: An Introduction; Nele Wynants.- 2. Mechanisms in the Mist: A Media Archaeological Excavation of the Mechanical Theater; Erkki Huhtamo.- 3. “Rendre réel aux yeux du public” – Stage Craft, Tricks, and the Féerie; Frank Kessler&Sabine Lenk.- 4. Vanishing Technology: Transparency of Media in Stage Magic; Katharina Rein.- 5. Deep Space or the Re-invention of Scenography: Jozef Wouters on Infini 1-15; Karel Vanhaesebrouck&Jozef Wouters.- 6. Perfumed Performances: The Reception of Olfactory Theatrical Devices from the Fin-de-siècle to the Present Day; Érika Wicky.- 7. Performing Astronomy: The Orrery as Model, Theatre and Experience; Kurt Vanhoutte.- 8. Capturing Bodies as Objects: Stereography and the Diorama in Kris Verdonck’s ISOS; Kristof van Baarle.- 9. Robots and Anthropomorphism in Science-Fiction Theatre: From Rebellion to Domesticity; Kara Reilly.- 10. Cinema’s Savoyards: Performativity and the Legacy of the Magic Lantern; Edwin Carels.- 11. The Art of Anamorphosis: Subverting Representational Conventions and Challenging the Observer; Rudi Knoops.- 12. Mediated Visions of Life: An Archaeology of Microscopic Theatre; Nele Wynants.- 13. The (Not So) Deep Time of Social Media Theater: An Afterword; Sarah Bay-Cheng.

What People are Saying About This

From the Publisher

“An exciting collection of essays, this book excavates theatre and theatre’s technologies in tandem with media and media’s theatricalities. Insights from media archaeology are applied to performances past and present even as theatre is recognized as an ongoing, irruptive, and resurgent prehistory for so-called “new” media. This book will be important for scholars across the arts, opening the concept of “deep time” to the study of performance and the history of theatre to media study.” (Rebecca Schneider, Professor of Theatre Arts and Performance Studies, Brown University, USA)

“This is a very well-edited and well-developed collection of articles centered on an exciting, new approach to theatre and performance scholarship. It unearths previously “invisible” examples of intermediality and provides “dramaturgies of difference” that offer a counterpoint to common tropes and anecdotes that have become all too common in media and film studies.” (Kevin Brown, Associate Professor of Digital Media and Performance Studies, University of Missouri, USA)