![]() The affective potential of music is assessed using phenomenology as a means through which to describe perceptual modes encountered in multi-channelled performance. I draw on Jacques Derrida’s theories of deconstruction and his critique of Artaud’s Theatre of Cruelty. These notions are briefly discussed from a historical perspective in relation to theatrical stagings that operate different approaches to illusion or anti-illusion. Each of these practitioners use contemporaneous technologies to communicate to audiences of their day in ways that suit the tenor and technological environment of their times. ![]() A performance of Steve Reich and Beryl Korot’s Three Tales is analysed, in the light ‘auditory space’, with reference to ways in which Three Tales evoke collective memory, to raise political concerns and issues of authenticity and to affect the spectator. Contemporary views on historiography and historicity are explored and contextualised with respect to postmodern theory. Commonalities in the practise of Erwin Piscator, Steve Reich and Beryl Korot are explored, specifically in their respective applications of technology as a means by which to re-present historical events and document lived experiences with political intent. This article reappraises and develops Marshall McLuhan’s theory of ‘Auditory Space’ as a critical tool for interrogating emergent, immersive modes of new media performance.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |