Titlebook: Documentation, Disappearance and the Representation of Live Performance; Matthew Reason Book 2006 Palgrave Macmillan, a division of Macmil

冒號(hào)

大量殺死

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.

A保存的

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.

嬰兒

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.’

技術(shù)

tic-douloureux

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.’

承認(rèn)

WATER

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

熱烈的歡迎

巧思

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