Live technologies in theatrical performance in a post modern perspective
Summary :
Table of Contents
- Introduction
- The work of Robert Lepage and Laurie Anderson
- The temporal element of video art
- The use of sound in The Passing and Hotel Methuselah
- The multidisciplinary quality of multi media performances
- The characters in Hotel Methuselah
- A stage presence
- Putting the audience in a position of not knowing who is governing the actions
- Performance artist Orlan
- The disembodied and unstable aspect of the technological 'presence'
- The use of technology in live performances
- Conclusion
- Bibliography
Abstract
How does the use of live technologies in theatrical performance comment on our own positioning in a post-industrial technologically based society? How does this in turn exemplify some of the concerns of the postmodernists?
Postmodern cinema is rich in intertextual references, and is often self-reflexive. However, the same can be said of theatre performances that use technology, as it enables more possibilities for communicating in other ways than through the spoken text on stage. These references therefore be perceived through mediums such as visuals and sound. As composer Philip Glass (in Powell; 1997: pg.un) observed 'technology is a lot of things. The grand piano was a piece of technology.' Douglas Coupland (1995) also stated that 'Language is such a technology.' . Indeed, 'technology' can mean many things and postmodernism encourages the fusion and juxtaposition of many disciplines such as film, music, and the time-based medium of video art. As Auslander (1999:24) observed, 'live performance now often incorporates mediatization such that the live event itself is a product of media technologies'. This highlights the inevitable positioning of the performer and of ourselves as the product and object of the technology being used and as cyborgs in our post-industrial and technologically based society.
Postmodern cinema is rich in intertextual references, and is often self-reflexive. However, the same can be said of theatre performances that use technology, as it enables more possibilities for communicating in other ways than through the spoken text on stage. These references therefore be perceived through mediums such as visuals and sound. As composer Philip Glass (in Powell; 1997: pg.un) observed 'technology is a lot of things. The grand piano was a piece of technology.' Douglas Coupland (1995) also stated that 'Language is such a technology.' . Indeed, 'technology' can mean many things and postmodernism encourages the fusion and juxtaposition of many disciplines such as film, music, and the time-based medium of video art. As Auslander (1999:24) observed, 'live performance now often incorporates mediatization such that the live event itself is a product of media technologies'. This highlights the inevitable positioning of the performer and of ourselves as the product and object of the technology being used and as cyborgs in our post-industrial and technologically based society.
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