標(biāo)題: Titlebook: Documentation, Disappearance and the Representation of Live Performance; Matthew Reason Book 2006 Palgrave Macmillan, a division of Macmil [打印本頁(yè)] 作者: angiotensin-I 時(shí)間: 2025-3-21 17:39
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書目名稱Documentation, Disappearance and the Representation of Live Performance讀者反饋
書目名稱Documentation, Disappearance and the Representation of Live Performance讀者反饋學(xué)科排名
作者: thrombosis 時(shí)間: 2025-3-21 21:33
https://doi.org/10.1057/9780230598560bibliography; knowledge; memory; performance; photography; truth; video; writing作者: Nerve-Block 時(shí)間: 2025-3-22 03:36 作者: 比目魚 時(shí)間: 2025-3-22 06:10
Organisationssoziologische Fallstudiend define what performance is as a phenomenon. It is with this perspective that this chapter explores two prominent and ongoing conversations about performance: the first of disappearance and transience; the second of documentation and retention. These discourses occur primarily within the academy a作者: 保守黨 時(shí)間: 2025-3-22 10:15 作者: 繁榮地區(qū) 時(shí)間: 2025-3-22 12:55 作者: 繁榮地區(qū) 時(shí)間: 2025-3-22 17:54 作者: 大雨 時(shí)間: 2025-3-22 21:16 作者: heirloom 時(shí)間: 2025-3-23 04:43
Die transnationale kapitalistische Klasseormance as the original and the screen presentation as its copy. This chronological hierarchy also often assumes implicit evaluative judgements: loading the ‘original’ with a primacy that resides in its authenticity, with the representation by contrast becoming ‘merely’ a copy, inauthentic, unorigin作者: Postmenopause 時(shí)間: 2025-3-23 08:01 作者: calamity 時(shí)間: 2025-3-23 11:42 作者: Flatter 時(shí)間: 2025-3-23 16:44
Jeffry M. Diefendorf,Janet Wardious sections. Writing does not bear a direct mimetic relationship with the world and cannot claim mechanical objectivity, audio/visual completeness or documentary transparency. However compromised such assertions may be in relation to photography and video, writing about performance is evidently mu作者: adroit 時(shí)間: 2025-3-23 19:17 作者: 痛得哭了 時(shí)間: 2025-3-24 00:13 作者: debase 時(shí)間: 2025-3-24 05:22
http://image.papertrans.cn/e/image/282336.jpg作者: obnoxious 時(shí)間: 2025-3-24 10:04 作者: nonsensical 時(shí)間: 2025-3-24 13:13 作者: concentrate 時(shí)間: 2025-3-24 17:12
h emphasis on the transformative impact of video, photography and writing, this book explores the ideological, practical, and representational implications of knowing performance through its documentations.978-1-349-54603-9978-0-230-59856-0作者: 脫毛 時(shí)間: 2025-3-24 19:12
Logik der Differenz — Logik des Austauschesve performance. The flexibility, economy and unsurpassed reproducibility of photography means that this continues to be the case today, more visible and widely reproduced than any other medium of performance representation.作者: Left-Atrium 時(shí)間: 2025-3-25 02:14
Transnationalism and the German City bad practice. This chapter, by contrast, pursues more speculative possibilities of good practice, identifying and describing instances where writing does begin to represent something of the experience of live performance.作者: FRAUD 時(shí)間: 2025-3-25 03:56
Documentation and Disappearancerformance: the first of disappearance and transience; the second of documentation and retention. These discourses occur primarily within the academy and performance studies, but also filter out into more generalised dialogues within the cultural industry, amongst audiences and in the arts media.作者: 確定的事 時(shí)間: 2025-3-25 11:33 作者: 羊齒 時(shí)間: 2025-3-25 13:39 作者: 牲畜欄 時(shí)間: 2025-3-25 19:27
Organisationssoziologische Fallstudierformance: the first of disappearance and transience; the second of documentation and retention. These discourses occur primarily within the academy and performance studies, but also filter out into more generalised dialogues within the cultural industry, amongst audiences and in the arts media.作者: 航海太平洋 時(shí)間: 2025-3-25 20:40
Die transnationale kapitalistische Klasseng the ‘original’ with a primacy that resides in its authenticity, with the representation by contrast becoming ‘merely’ a copy, inauthentic, unoriginal and secondary.. Such a binary can, additionally, lead to assertions that the live is intrinsically superior to the non-live, in part because of various perceptions of authenticity.作者: nonplus 時(shí)間: 2025-3-26 03:08 作者: cortisol 時(shí)間: 2025-3-26 05:26 作者: Cardiac 時(shí)間: 2025-3-26 08:50
Transnationalisierung der Arbeite, factual, complete — the very strengths of this claim simultaneously threaten the prized uniqueness of the live event, with the possibility that the mediatized reproduction becomes a show in its own right.作者: plasma 時(shí)間: 2025-3-26 12:44
Studies in European Culture and Historyf trace or presence and acts of documentation always involving some degree of fragmentation and absence. Together these two themes underwrite much conceptual discussion and thinking within performance studies.作者: 骯臟 時(shí)間: 2025-3-26 18:31 作者: 冒號(hào) 時(shí)間: 2025-3-26 22:09 作者: 大量殺死 時(shí)間: 2025-3-27 03:40
Video Documentse, factual, complete — the very strengths of this claim simultaneously threaten the prized uniqueness of the live event, with the possibility that the mediatized reproduction becomes a show in its own right.作者: A保存的 時(shí)間: 2025-3-27 05:38
The Representation of Live Performancef trace or presence and acts of documentation always involving some degree of fragmentation and absence. Together these two themes underwrite much conceptual discussion and thinking within performance studies.作者: 嬰兒 時(shí)間: 2025-3-27 10:53
Sigrid Quack,Ingo Schulz-Schaeffer,Anja Wei?l be focused through the exploration of the documentary attitudes and activities of the British theatre ensemble Forced Entertainment, looking at how their practice is manifested in archival, academic and self-representational endeavour.’作者: 技術(shù) 時(shí)間: 2025-3-27 14:56 作者: tic-douloureux 時(shí)間: 2025-3-27 18:19
Self-Representationl be focused through the exploration of the documentary attitudes and activities of the British theatre ensemble Forced Entertainment, looking at how their practice is manifested in archival, academic and self-representational endeavour.’作者: 承認(rèn) 時(shí)間: 2025-3-27 23:54 作者: WATER 時(shí)間: 2025-3-28 04:59
Documentation and Disappearancend define what performance is as a phenomenon. It is with this perspective that this chapter explores two prominent and ongoing conversations about performance: the first of disappearance and transience; the second of documentation and retention. These discourses occur primarily within the academy a作者: 熱烈的歡迎 時(shí)間: 2025-3-28 09:09 作者: 巧思 時(shí)間: 2025-3-28 12:49
Proper Research, Improper Memoryr institution of documentary drive and activity. In this context, both archives and the academy are interested in the documentation of performance history; both able to claim, in part as a result of their production by experts and their institutional status, a powerful degree of authority and legiti作者: 越自我 時(shí)間: 2025-3-28 17:27 作者: majestic 時(shí)間: 2025-3-28 18:59
Video Documentses in representing live performance are concerned. More than any other form or activity of representation, video is constructed within discourses of documentation and disappearance as at once both the saviour and the death of live performance — as at once something that will solve the ‘problem’ of d作者: unstable-angina 時(shí)間: 2025-3-29 01:47 作者: Rct393 時(shí)間: 2025-3-29 05:25 作者: Campaign 時(shí)間: 2025-3-29 07:45 作者: eustachian-tube 時(shí)間: 2025-3-29 12:35
