By Erika Fischer-Lichte
Erika Fischer-Lichte's advent to the self-discipline of Theatre and function experiences is a strikingly authoritative and broad ranging consultant to the study of theatre in all of its forms. Its three-part constitution strikes from the 1st steps in beginning to take into consideration functionality, via to the various and interrelated matters required of higher-level study:
Part 1 – relevant recommendations for Theatre and function learn – introduces the language and key principles which are used to debate and examine theatre: strategies of functionality; the emergence of that means; and the theatrical occasion as an event shared via actors and spectators. half 1 contextualizes those innovations by way of tracing the heritage of Theatre and function reviews as a discipline.
Part 2 – Fields, Theories and techniques – appears at how one can examine a functionality and the way to behavior theatre-historiographical learn. This part is anxious with the 'doing' of Theatre and function reviews: setting up and figuring out assorted methodological techniques; utilizing assets successfully; and construction theoretical frameworks.
Part three – Pushing limitations – expands at the classes of components 1 and a couple of with the intention to interact with theatre and function in an international context. half three introduces the idea that of 'interweaving functionality cultures'; explores the interrelation of theatre with the opposite arts; and develops a transformative aesthetics of functionality.
Case experiences during the publication root its theoretical dialogue in theatrical perform. targeted bills of performs, practitioners and performances map the improvement of Theatre and function reviews as an instructional self-discipline, and of the theatre itself as an artwork shape. this is often the main accomplished and complicated advent to the sphere to be had, written by way of one in every of its ultimate scholars.
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Extra resources for The Routledge Introduction to Theatre and Performance Studies
The polymorphism of the voice opens up an ambiguity in verbal utterance; words become ambiguous, while remaining comprehensible. The voice also draws the attention of the listeners to its own particularities. Through voice, the subject’s bodily being-in-the-world discloses itself. The tension between voice and language is analogous to the tension between phenomenal body and semiotic body. Both these tensions spring from the doubleness of being a body and having a body. On the one hand, the voice enunciates the speaker’s bodily being-in-the-world.
Electronic media can amplify or duplicate the voice, can broadcast it, fragmented and distorted, without de-materializing it (as ﬁlm recordings do with the ﬁlmed 36 Central concepts body). The voice seems polymorphic. It loses markings of gender, age, and ethnic belonging. The aural space created is experienced as an in-between space, as a space of constant crossings, passages, and metamorphoses. Such a sense of liminality pervades the aesthetics of many contemporary artists. Even when voice is connected to language, it maintains a life of its own, drawing the attention of the listener to its own materiality.
As we begin to explore all of these facets of performance, it will become apparent that they are intrinsically interrelated; it is only for the sake of clarity that we deal with each of them separately in the sections that follow. ” Performances therefore diﬀer essentially from texts and artifacts. Texts and artifacts are products that exist separately from their creator(s); they are not tied to the bodily presence of their creators. These products can be encountered at diﬀerent times, and often in diﬀerent places.
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