Post-cinematic theatre and performance
Author(s)
Bibliographic Information
Post-cinematic theatre and performance
（Palgrave studies in performance and technology）
Palgrave Macmillan, 2014
- : [hbk.]
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Note
Includes bibliographical references (p. 259-266) and index
Contents of Works
- The post-cinematic landscape
- Décalage and mediaphors in Robert Lepage's Elsinore and The Andersen Project
- A cinematic montage in Roadmetal Sweetbread and A Mare's Nest
- Guilty pleasures and intermedial archaeologies in the Wooster Group's House/Lights and Hamlet
- The ethics of perception in Wunschkonzert
- Disorienting landscapes in Hotel Methuselah
- Pedipulating "footage" in Duncan Speakman's As If It Were The Last Time
- Landscapes and aporias in Lars von Trier's Dogville
- Conclusion
Description and Table of Contents
Description
A cinema without cameras, without actors, without screen frames and without narratives almost seems like an antithetical impossibility of what is usually expected from a cinematic spectacle. This book defines an emergent field of post-cinematic theatre and performance, challenging our assumptions and expectations about theatre and film.
Table of Contents
List of Figures Series Editors' Preface Acknowledgements 1. The Post-Cinematic Landscape 2. Decalage and Mediaphors in Robert Lepage's Elsinore and The Andersen Project 3. Acinematic Montage in Roadmetal Sweetbread and Mare's Nest 4. Guilty pleasures and intermedial archaeologies in Wooster Group's House/Lights and Hamlet 5. The Ethics of Perception in Wunschkonzert 6. Disorienting Landscapes in Hotel Methuselah 7. Pedipulating 'footage' in Duncan Speakman's As if it were the last time 8. Landscapes and Aporias in Lars Von Trier's Dogville 9. Conclusion Bibliography Index
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