Introduction / Matthew Reason and Anja Mølle Lindelof -- Audiencing. -- Coming (a)live: a prolegomenon to any future research on "liveness" / Martin Barker -- Orange dogs and memory responses: creativity in spectating and remembering / Katja Hilevaara -- Fandom, liveness and technology at Tori Amos music concerts: examining the movement of meaning within social media use / Lucy Bennett -- Social and online experiences: shaping live listening expectation in classical music / Stephanie E. Pitts -- The meaning of lived experience / Paddy Scannell -- Affect and experience / Matthew Reason -- Shorts. Live art, death threats: the theatrical antagonism of first night / Alexis Soloski -- Attention as a tension: affective experience between performer and audience in the live encounter / Victoria Gray -- Empathy and resonant relationships in performance art / Lynn Lu -- Embodied traces: co-presence, kinaesthesia and bodily inscription / Imogene Newland -- An experience of becoming: wearing a tail and Alpine walking / Catherine Bagnall -- Sisters academy: radical live intervention into the educational system / Gary Worre Halberg -- One-to-one performance: who's in charge? / Sarah Hogarth and Emma Bramley -- A performatic archive / Kerrie Reading -- Theatre of bone / Rebecca Schneider -- Materialising. What is a live event? / Gary Peters -- Improvising music experience: the eternal ex-temporisation of music made live / Steve Tromans -- The place of performance: a critical historiography on the topos of time / Jonah Westerman -- Objectifying liveness: labour, agency and the body in the 11 rooms exhibition / Lisa Newman -- Reconsidering liveness in the age of digital implication / Eirini Nedelkopoulou -- Environmental performance: framing time / Anja Mølle Lindelof, Ulrik Schmidt and Connie Svabo -- Shorts. Three performances: a virtual (musical) improvisation / Mathias Maschat and Christopher Williams -- Chronography / Craig Dworkin -- Memory, time and self: a text work based on a conceptual performance / Paul Forte.
Summary:
Brings together dynamic perspectives on the concept of liveness in the performing arts, engaging with the live through the particular analytical focus of audiences and experience. The status and significance of the live in performance has become contested: perceived as variously as a marker of ontological difference, a promotional slogan, or a mystical evocation of cultural value. Moving beyond debates about the relationship between the live and the mediated, this collection considers what we can know and say about liveness in terms of processes of experiencing and processes of making.
Series:
Routledge advances in theatre and performance studies ; 47
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.