Along with Philosophy and Medicine, Theatre Studies is one of the oldest fields of study. It traces its origins to Aristotles’s Poetics of the 3rd century BCE, a work in which tragedy and comedy are identified as a genre; to the Indian Sanskrit tradition of notating the form and structure of Indian drama which dates back to the second century BCE and essays on dramatic theory by Japan’s Zeami (1363-1443).
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It's possible that if you are interested in Spectatorship and read this web-book, you have to wait for many years before I can finish it....
Method for Directors?
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751
QuestionsNEW: Directing Time (Total Directing) + Part 4. Directing Public in Stagematrix
Observations sur Garrick, Essai sr la poesie dramatique (1758) and Paradox e sur le comedien
Gotthold Lessing (1729-81) Playwright and critic
Hamburgische Dramaturgie (1767) – descriptions of acting and stage effects
Nathan the Wise a play that argues for religious tolerance
Bertolt Brecht (1899-1956) Playwright, director
Brecht on Theatre – dramaturgical analyses and critiques of the theatre of his time and a model for a new kind of theatre for the modern age
Roland Barthes (1915-1980) Critical theorist
‘Diderot, Brecht, Eisenstein’ : Analysis of ideological and aesthetic aspects of theatrical production.
The first Theatre Studies Department in a British University was set up in 1947 at Bristol.
In 1969, Richard Schechner founded the first Department of Performance Studies at New York University devoted to the study of live performance.
Time again -- the public is the product of theatre![old text]
Without experiencing the show you can't have it!
Yes, if you have your own public, you made it -- you have your own theatre. Your theatre has it own style.
I wrote about it in Taganka Files.
Public is more than one...
The word "public" is abused, but I say to my students:
Listen! They are always right! There is no stupid public, only misplaced public.
LOOKING AS LABOR: THE ECONOMY OF SIGHT
Economics of Spectatorship
Spectator as costumer, consumer, recipient, producer: "Theatre was born on market square." (Pushkin)
Life (time) as capital (see TIME).
Viewing time as the commodity? The labor time of the viewer (human labor time).
Meanings produced (provoked) by looking: if media is the message, I place image within the existing communication (adding, not "independently" creating new meanings. Could I say, I discover what they are ready to see). I format the unborn messages? The meeting of two in the middle.
"Vision becomes a form of work." (59)
We're making profit from other people looking!?
Self-consuming: Production which creates consumption.
Visual economy = new methods for the extraction of value from the human body. "Looking" is the first step in "objectivisation," materialization of the spectator's personal time.
"Human attention is a value-adding commodity." (11)
Productive value of human attention: Seeing is an event, the basis for a financial event > Selling the public what they want to see (to think) = entertainment concept.
Theatre is a medium for the production and circulation of value (Public: image circulation -- the "same" image being seen by many).
Circulation of value brings together masses into unity (instead of cultural organization with "traditional" "real" values).
Theatre is braking away from the mass media circulation, forming a community2, which could develop different (non-popular) values. (Cave Christians, underground of mass culture). Creating new values, and new ways of looking at the world.
EXCHANGE VALUE + USE VALUE
Show has to produce values which do not exist yet, which makes theatre a place of controversy (balance). They have to be recognized as "new values." Next, the rejection-acceptance. The show live on this energy of anticipation.
Industrial art (if technology is included)?
QUALITIES OF THE SHOW
2. The Unconscious
3. The Commodity
Show is a process of transformation of Audience into Public: the speed of the circulation?
Laughter - direct linkage of spectators into public.
The finished commodity (image) results from a "completed" set of movements. (15)
From yesterday's ideology to today's spectacle (theatre's hidden ideology, non-narrative, dramatic form of meaning production). Shy ideology = entertainment.
Show = meditation (of the public) in its self-conscious form. Show = mediation.
Public: development of value.
Stage is a form of deterritorization, bringing "individual" bodies into common body (conscience has no guarded borders, many, others are included in my ID. Through conscience stage can enter my existence and colonize my being).
Show is a machine that produces new machines (?) = me-after-the-show. Duality: the spectacle we consume or being consumed by the spectacle?
Theatre is a conceptual practice.
Ontological (a-historical) conditions.
the fiction of spectacle as time machine
"The perception that images pass through the perception of others increases their currency and hence their value." (54)
When is this value capitalized (tickets)?
In "informal economy" the value is (co)-produced by viewers.
Spectator: The Grand Illusion of Ownership (Authorship)
"Cats: Now and Forever!" Anti-theatrical notion?
Impossible to deprive him his theatrical experience. In painting or book we have copyright, show-as-experience has no value outside of consuming. Show is closed the moment the public has no interest in seeing it. Show by definition couldn't run indefinitely; it has to be re-staged (reborn) for a new public3 (with new sets of visions -- expectations).
Show has to die, like each of us. Does theatre celebrate mortality? Show is a product of time, timely and destined to die.
[Class in Australia]: This subject looks at and evaluates a wide range of competing theories of and arguments about spectatorship. It mobilises spectatorship as a way of profiling and analysing a number of issues and debates within the inter-related fields of cultural, film and television studies. The subject is designed to provide students with a broad overview of and solid grounding in contemporary media theory. Students should become familiar with the question of spectatorship in psychoanalytic-semiotic theories of the cinematic apparatus; Marxist accounts of ideological interpellation in the mass media; cultural studies models of audience negotiation and subcultural resistance; critical theories about the cultural transformations of modernity; feminist and queer debates about the sexual dynamics of popular culture; postmodern accounts of the virtual subjectivities of cyberculture.
Audience enjoy undercurrent of problems of disaster; potential violence. Underlying fireworks...
in focus: StageMatrix
reading: see BOOKS pages in all directories
Film-North * Anatoly Antohin
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