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Manifesto on liveness'.

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter

Published

Standard

Manifesto on liveness'. / Etchells, T. J.; Heathfield, A.
Live: Art and Performance. Tate Books, 2004.

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter

Harvard

Etchells, TJ & Heathfield, A 2004, Manifesto on liveness'. in Live: Art and Performance. Tate Books.

APA

Etchells, T. J., & Heathfield, A. (2004). Manifesto on liveness'. In Live: Art and Performance Tate Books.

Vancouver

Etchells TJ, Heathfield A. Manifesto on liveness'. In Live: Art and Performance. Tate Books. 2004

Author

Etchells, T. J. ; Heathfield, A. / Manifesto on liveness'. Live: Art and Performance. Tate Books, 2004.

Bibtex

@inbook{61cb9c78ed0b40d293c344f69471f948,
title = "Manifesto on liveness'.",
author = "Etchells, {T. J.} and A. Heathfield",
note = "Special Individual Circumstances. This chapter is a critical reflection on Etchells' practice as a theatre and performance maker, which seeks to use this work as an occasion to examine ideas about liveness and presence, about models, structures and approaches to contemporary performance and about the dynamics of the relationship between performers and audience. Drawing on major works that he has directed and written text for such as First Night (2001) and Showtime (1999), the piece also reflects as on the work of other contemporary practitioners such as choreographer Jerome Bel, and performer Roy Faudre (Wooster Group). The essay explores the problematics of the theatrical economy, especially in relation to audience expectation. How performance confronts these expectations, how it might deny and question them (at the same time as meeting them by another route!) are key aspects of what Etchells writes about. The chapter is also focused on liveness and strategies for the construction of performer presence - on what makes something feel live, on what makes it feel vulnerable and 'real'. He writes with special reference to both the theatre work he has made with Forced Entertainment and to the longer durational/installation pieces such as Quizoola! and And On The Thousandth Night' outlining some of the differences in the ways that these different kinds of works operate and drawing conclusions about the different temporal and expectational economies of these forms. The chapter also reflects on the relationship between contemporary theatre performance and other cultural forms -- making a link between performance and popular or ubiquitous forms such as stand-up comedy and TV chat-shows as well as to more unexpected and definitely non-dramatic forms like press-conferences, interrogations, pub-quizzes and show-trials. RAE_import_type : Chapter in book RAE_uoa_type : LICA",
year = "2004",
language = "English",
isbn = "1854375016",
booktitle = "Live: Art and Performance",
publisher = "Tate Books",

}

RIS

TY - CHAP

T1 - Manifesto on liveness'.

AU - Etchells, T. J.

AU - Heathfield, A.

N1 - Special Individual Circumstances. This chapter is a critical reflection on Etchells' practice as a theatre and performance maker, which seeks to use this work as an occasion to examine ideas about liveness and presence, about models, structures and approaches to contemporary performance and about the dynamics of the relationship between performers and audience. Drawing on major works that he has directed and written text for such as First Night (2001) and Showtime (1999), the piece also reflects as on the work of other contemporary practitioners such as choreographer Jerome Bel, and performer Roy Faudre (Wooster Group). The essay explores the problematics of the theatrical economy, especially in relation to audience expectation. How performance confronts these expectations, how it might deny and question them (at the same time as meeting them by another route!) are key aspects of what Etchells writes about. The chapter is also focused on liveness and strategies for the construction of performer presence - on what makes something feel live, on what makes it feel vulnerable and 'real'. He writes with special reference to both the theatre work he has made with Forced Entertainment and to the longer durational/installation pieces such as Quizoola! and And On The Thousandth Night' outlining some of the differences in the ways that these different kinds of works operate and drawing conclusions about the different temporal and expectational economies of these forms. The chapter also reflects on the relationship between contemporary theatre performance and other cultural forms -- making a link between performance and popular or ubiquitous forms such as stand-up comedy and TV chat-shows as well as to more unexpected and definitely non-dramatic forms like press-conferences, interrogations, pub-quizzes and show-trials. RAE_import_type : Chapter in book RAE_uoa_type : LICA

PY - 2004

Y1 - 2004

M3 - Chapter

SN - 1854375016

BT - Live: Art and Performance

PB - Tate Books

ER -