Off Sites: Contemporary Performance beyond Site-Specific
Bertie Ferdman
Honorable Mention, ATHE's 2018 Outstanding Book Award
Contextualizing the techniques and methods of the incredibly rich and vital genre of site-specific performance, author Bertie Ferdman traces the evolution of that term. Originally used for experimental staging practices and then later also for engaged situational events,site-specificis no longer sufficient for the genre’s many contemporary variations.
Using the termoff-site, Ferdman illustrates five distinct ways artists have challenged the disciplinary framework of site-specific theatre: blurring the traditional boundaries between the fictional and the real; changing how the audience and actor interact with each other and whether they are physically together or apart; fabricating sites from physically bound, conceptually constructed, or virtual spaces; staging live situations in real/nonreal and often mediated encounters; and challenging our preconceived notions of time and space. Tracing the genealogy of site-based work through the twentieth and twenty-first centuries, Ferdman outlines the theoretical groundwork for her study in the introduction. Individual chapters focus on distinct types of off-sites—the interdisciplinary discourse ofdisciplinary sites; the spaces of audience engagement withspectator sites; the dislocation of time fortemporal sites; and the historiographical spaces of mapping forurban sites.
Ferdman examines site-based work being done in the Americas by contemporary companies and artists experimenting with new forms and practices for site-driven theatre. Key productions discussed includePrivate Momentby David Levine,Geyser Landby Mary Ellen Strom and Ann Carlson, Jim Findlay’sDream of the Red Chamber, and Lola Arias’Mi Vida Después.
Contextualizing the techniques and methods of the incredibly rich and vital genre of site-specific performance, author Bertie Ferdman traces the evolution of that term. Originally used for experimental staging practices and then later also for engaged situational events,site-specificis no longer sufficient for the genre’s many contemporary variations.
Using the termoff-site, Ferdman illustrates five distinct ways artists have challenged the disciplinary framework of site-specific theatre: blurring the traditional boundaries between the fictional and the real; changing how the audience and actor interact with each other and whether they are physically together or apart; fabricating sites from physically bound, conceptually constructed, or virtual spaces; staging live situations in real/nonreal and often mediated encounters; and challenging our preconceived notions of time and space. Tracing the genealogy of site-based work through the twentieth and twenty-first centuries, Ferdman outlines the theoretical groundwork for her study in the introduction. Individual chapters focus on distinct types of off-sites—the interdisciplinary discourse ofdisciplinary sites; the spaces of audience engagement withspectator sites; the dislocation of time fortemporal sites; and the historiographical spaces of mapping forurban sites.
Ferdman examines site-based work being done in the Americas by contemporary companies and artists experimenting with new forms and practices for site-driven theatre. Key productions discussed includePrivate Momentby David Levine,Geyser Landby Mary Ellen Strom and Ann Carlson, Jim Findlay’sDream of the Red Chamber, and Lola Arias’Mi Vida Después.
Categorías:
Año:
2018
Edición:
1
Editorial:
Southern Illinois University Press
Idioma:
english
Páginas:
200
ISBN 10:
0809334704
ISBN 13:
9780809334704
Serie:
Theater in the Americas
Archivo:
PDF, 22.38 MB
IPFS:
,
english, 2018
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