Matthew Reason

Experiencing Liveness in Contemporary Performance

Promotional slogan, mystical evocation, or marker of ontological difference? ‘Liveness’ in contemporary performance is a highly contested term.

Experiencing Liveness in Contemporary Performance, edited by Matthew Reason and Anja Molle Lindelof (published Routledge 2017), moves beyond debates about the relationship between the live and the mediated to consider the processes of making and experiencing the performance. Drawing together contributions from theatre, music, dance, and performance art, it takes an interdisciplinary approach in asking not what liveness is, but how it matters and to whom.

 

Contents

Introduction: Experiencing Liveness in Contemporary Performance

Matthew Reason and Anja Mølle Lindelof

Part 1: Audiencing

Section Introduction: Matthew Reason and Anja Mølle Lindelof

 

Chapters

  1. Coming (a)live: A Prolegomenon to any Future Research on ‘Liveness’

Martin Barker

  1. Orange Dogs and Memory Responses: Creativity in Spectating and Remembering

Katja Hilevaara

  1. Fandom, Liveness and Technology at Tori Amos Music Concerts: Examining the Movement of Meaning within Social Media Use

Lucy Bennett

  1. Social and Online Experiences: Shaping Live Listening Expectation in Classical Music

Stephanie E. Pitts

  1. The Meaning of Lived Experience

Paddy Scannell

  1. Affect and Experience

Matthew Reason

 

Shorts

  1. Live Art, Death Threats: The Theatrical Antagonism of First Night

Alexis Soloski

  1. Attention as a Tension: Affective Experience between Performer and Audience in the Live Encounter

Victoria Gray

  1. Empathy and Resonant Relationships in Performance Art

Lynn Lu

  1. Embodied Traces: Co-presence, Kinaesthesia and Bodily Inscription

Imogene Newland

  1. An Experience of Becoming: Wearing a Tail and Alpine Walking

Catherine Bagnall

  1. Sisters Academy: Radical Live Intervention into the Educational System

Gry Worre Halberg

  1. One-to-One Performance: Who’s in Charge?

Sarah Hogarth and Emma Bramley

  1. A Performatic Archive

Kerrie Reading

  1. Theatre of Bone

Rebecca Schneider

 

Part 2: Materialising

Section Introduction: Matthew Reason and Anja Mølle Lindelof

Chapters

  1. What is a Live Event?

Gary Peters

  1. Improvising Music Experience: The Eternal Ex-temporisation of Music Made Live

Steve Tromans

  1. The Place of Performance: A Critical Historiography on the Topos of Time

Jonah Westerman

  1. Objectifying Liveness: Labour, Agency and the Body in the 11 Rooms Exhibition

Lisa Newman

  1. Reconsidering Liveness in the Age of Digital Implication

Eirini Nedelkopoulou

  1. Environmental Performance: Framing Time

Anja Mølle Lindelof, Ulrik Schmidt and Connie Svabo

 

Shorts

  1. Three Performances: A Virtual (Musical) Improvisation

Mathias Maschat and Christopher Williams

  1. Chronography

Craig Dworkin

  1. Memory, Time and Self: A Text Work based on a Conceptual Performance

Paul Forte

  1. Broken Magic: The Liveness of Loudspeakers

Dugal McKinnon

  1. Managing Live Audience Attention in the Age of Digital Mediation: The Good, The God and The Guillotine:

Martin Blain

  1. Enlivened Serendipity

Allen S. Weiss

  1. National Theatre Wales’s Coriolan/us: A ‘Live Film’

Mike Pearson

  1. Machines in Queer Gardens: Performance as Mixed Surreality

Judd Morrissey and Mark Jeffery

 

Afterword

So Close and Yet So Far Away: The Proxemics of Liveness

Philip Auslander

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This entry was posted on 17 February, 2017 by in .
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