Performance, technology and presence: The Builders Association
DOI:
https://doi.org/10.11606/issn.2238-3867.v17i1p400-419Keywords:
Presence, Technology, Performance, Intermediality, The Builders Association.Abstract
The article examines the construction of a critical discourse regarding the transformation of the theatre and the arts in the last decades, in face of the rising use of medias such as video, film, computer, and internet, as well as the incorporation of digital media in the process of creation of theatre works, performances, and interactive installations. It focuses on the question of presence, or rather on its alleged undermining, as a result of the mediatization of the arts. The reappraisal of phenomena of presence is discussed by means of the analysis of the intermedia work of the North American company The Builders Association, whose performances stand out for its full integration with technology and for its truly interdisciplinary collaboration practice.
Downloads
References
ABRAMOVIĆ, M.; ULAY, Modus Vivendi 1980-1985. Catálogo da exposição Stedelijk Van Abbemuseum, Eindhoven, 1986.
AUSLANDER, P. Live and mediatized performance. The Cambridge Companion to Performance Studies, Oxford, p. 107-119, 2008.
______. Against ontology: making distinctions between the live and the mediatized. Performance Research, v. 2. n. 3, p. 50-55, 1997.
______. Presence and resistance. Michigan: University of Michigan Press, 1994.
BOLTER, J.; GRUSIN, R. Remediation: understanding new media. Cambridge: The MIT Press, 2000.
CUSACK, T. Is it live?. Stage Directions, p. 52-54, nov. 2007. Disponível em: https://goo.gl/HDbYDm. Acesso em: 2 jun. 2017.
DIXON, S. A history of new media in theater, dance, performance art and installation. Cambridge: The MIT Press, 2007.
FISCHER-LICHTE, E. Appearing as embodied mind: defining a weak, a strong and a radical concept of presence. In: GIANNACHI, G.; KAYE, N.; SHANKS, M. (Orgs.). Archeologies of presence: art, performance and the persistence of being. Nova York; Londres: Routledge, 2012. p. 103-118.
FUCHS, E. Presence and the revenge of writing, Performing Arts Journal, v. 9, n. 2/3, p. 163-173, 1985.
GIANNACHI, G.; KAYE, N. Performing presence: between the live and the simulated. Manchester: Manchester University Press, 2011.
GENER, R. Electronic Campfires. American Theatre, p. 28-31, dez. 2008.
JACKSON, S.; WEEMS, M. The Builders Association. Cambridge: The MIT Press, 2015.
GRUSIN, R. Premediation. Criticism, Wayne State University Press, v. 46, n. 1, p. 17-39, 2004.
KAYE, N. Screening presence: The Builders Association and dbox, SUPER VISION (2005). Contemporary Theatre Review, v. 17, n. 4, p. 557, 2007.
KLICH, R. Instance: The Builders Association, Super Vision (2005). In: BAY-CHENG, Sarah et al. Mapping intermediality in performance. Amsterdam: Amsterdam University Press, 2001. p. 149-155.
KLICH, R.; SCHEER, E. Multimedia performance. Londres: Palgrave MacMillan, 2012.
MARRANCA, B. Mediaturgy: a conversation with Marianne Weems. In: MARRANCA, B. Performance Histories, PAJ: A Journal of Performance and Art, p. 189-206, 2009.
PHELAN, P. The ontology of performance: representation without reproduction, Unmarked, Londres/Nova York, Routledge, 1993, p. 146-166.
SALTZ, D. Media, technology, and performance. Theatre Journal, Baltimore, The Johns Hopkins University Press, v. 65, p. 421-432, 2013.
SCHECHNER, R. Building the Builders Association, TDR, p. 37-57, 2012.
TANAKA, J. Theatrics out of thin air. American Theatre, p. 24-27, set. 1999.
WEEMS, M. Art Talk: an evening with Marianne Weems. Vídeo da palestra em The New School. Disponível em: <https://www.youtube.com/watch?v=MnZtnmOSpwk>. Acesso em: 7 jun. 2016.
Downloads
Published
Issue
Section
License
Os leitores são livres para compartilhar, copiar e redistribuir os textos publicados na Sala Preta, sem fins comerciais e em qualquer suporte ou formato, desde que sejam dados os créditos apropriados ao(s) autor(es) e à Revista. Podem também adaptar, remixar, transformar e criar a partir deste material, desde que distribuam o material derivado sob a mesma licença do original – e mantenham a menção explícita ao(s) autores e à Revista Sala Preta.
Ao submeter um artigo à Sala Preta e tê-lo aprovado para publicação os autores concordam com os termos da Licença Creative Commons Atribuição-NãoComercial-CompartilhaIgual 4.0 Internacional.
