"Power does not corrupt men; fools, however, if they get into a position of power, corrupt power." -- George Bernard Shaw
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Key Terms: Glossary
Mailing List & News -- subscribe yourself *
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan: Director's BOOK
2001 Classes @ THR w/Anatoly
HamletDreams 2001: mindscape
For 2000-2001 Self-Evaluation (Annual Report)
THR331 Advanced Acting (3)
THR413 Playscript Analysis (3) Spring 2001
Directing -- "Importance of Being Earnest" by Oscar Wilde
7th Performance Studies International Conference, Germany
Popular Culture Association/American Culture Association, University of Nevada
25th Modern Drama Conference, Ohio State
Course Development: new websites for THR200X Aesthetics -- http://geocities.com/anatolant/200/title.html and THR470 Film Directing -- http://afronord.tripod.com/film/intro.html
* new disciplinary perspectives
PS7 Conference Office
Attn.: Vera Apfelthaler
Universitaet Mainz, Institut fuer Theaterwissenschaft
(int. +49) 6131-3923 783
Between Theatre and Ritual: Role of the Spectator in Virtual Theatre
At University of Alaska Fairbanks we experiment with the webcasting of live shows since 1999 production of The Three Sisters. The Twelfth Night was to follow and now -- The Importance of Being Earnest. We call it Virtual Theatre: shows are directed and performed with the cameras present on stage and the video signal is mix/cut for the digital broadcasting via Internet in real time.
There are many new and challenging aspects in vTheatre productions, but the main is a different aesthetic position of the public, their reactions are incorporated into a narrative, they become a stage partner (we call them "SpectActors"). They as well as the "camera-performers" are not scripted and there is no storyboard, the camera follows the action which has different focus every night. We used on stage screens in order for actors and audience to interact not only with the cameras, but with the images on the screen.
In order to solve the conflict between stage acting and acting for the camera, we approached performance as a ritual to bring the actors and the audience to the same level. Actors and camera people are seen as the most active spectators and we plan to let the audience to take control of the cutting the shots by using the laptops in the house and/or from the computers in different locations. Of course, the quality of the monitor's onscreen images (for distant spectators) is not great, but the interactive aspect is there to use for live shows.
Anatoly G. Antohin
Assoc. Professor & Head
University of Alaska Fairbanks
PS. This is my proposal for a paper. Workshop/Demonstration is possible, but requires a rehearsed scene (actors) and a film crew (2-3 cameras), screen and switcher (editor). Webcasting will require additional equipment.
* for 20-30 min presentation I still would like to have a monitor with the online computer connection. For more details see websites:
Virtual Theatre http://etheatre.tripod.com
Please use the email email@example.com for communications.
2001? I have to finish my "books-in-progress"! No kidding?
Theatre w/Anatoly 2001 *
Mostly writing, see WRITE directories.
Mostly the nonfiction books. The textbooks have to wait.
projects: Demons 2003
texts: Theatre History
in focus: Taming of the Shrew
Theatre Books list *
reading: Theatre Theory
play writing amazon list *
Spring 2001 * Anatoly Antohin *
This is so confusing! I myself can't find the abstracts of the papers accepted already!
Some I have to drop; the Comparative Drama Conference in Ohio conflicts with the iPS congress in Germany.LETTER OF INVITATION Dear Anatoly Antohin, We are delighted to confirm that you have been invited to give a presentation on "Between Theatre and Ritual" at the 7th PERFORMANCE STUDIES CONFERENCE 2001. The PERFORMANCE STUDIES CONFERENCE series is the major international academic conference for performance studies scholars and theatre scholars with an interest in performance. Under the title 'Translation -Transition-Transformation. The Impact of Discovering Languages, Changing Perspectives, Transforming Through Performance', the 7th PERFORMANCE STUDIES CONFERENCE in Mainz 2001 will feature keynotes, papers, roundtables, case studies, reports on research and teaching schemes, performances and workshops. We are expecting up to 400 scholars from a variety of disciplinary and geographical backgrounds (e.g. USA, Canada, UK, Ireland, Belgium, Croatia, Germany, Poland, Russia, Slovenia, Bulgaria, Tunesia, Morocco, Switzerland, Yugoslavia, Israel, Egypt, South Africa, India, Japan, Australia, New Zealand, Brazil, Mexico) to join us for this event. The 7th PERFORMANCE STUDIES CONFERENCE will be co-hosted by the association for scholars and practitioners working in the field of performance, PSi PERFORMANCE STUDIES international and the Department of Theatre Studies at Mainz University. Our delegates share a great interest in performance and performance analysis, and your presence would be invaluable as a source of information and contact. Unfortunately the conference cannot give you any financial assistance. In the hope that you will be able to join us for this event, I remain Yours sincerely, Vera Apfelthaler Assistant Conference Director On behalf of the Conference Programme Committee: Christopher Balme Ute Ritschel Universitaet Mainz Institut fuer Theaterwissenschaft PS7 Conference Office Att. Vera Apfelthaler) Welderweg 18, 55099 Mainz Germany Phone: (+49) 6131- 39 23 775 Fax: (+49) 6131- 39 23 776 email: firstname.lastname@example.org http://www.germanistik.uni-mainz.de/Theaterwissenschaft/Eingang.html
Popular Culture Association/American Culture Association Felicia Campbell Department of English University of Nevada Las Vegas 89154-5011 702-895-3457 702-895-4801 (fax) email@example.com American Pop Origins of Russian Mafia The utopian tradition of the Soviet Era is still in full force, but now the New Russians are imitating another non-exiting model -- America as they see it at the movies. "The American Experience" and values are presented by the popular entertainment to the ex-Soviets and their social behavior is shaped by this cultural model no less than by the economics. In traditions of life imitating art, the postmodern simulacra replaced the reality. Most of the Russian economy is a spectacle and they need it perhaps even more when they have no ideology. Perhaps, the most interesting aspect of this phenomena is in what do. The New Russians select from the American pop culture. The state powers are lost and there is a need to replace this structure with the personal power. "American Russia" operates on dollars and managerial style from "God-Father" (since the actual economic structure is absent, including the financial structure). Unlike the previous American influence on the dissidents, this time the value system is presented for the masses and they try to implement the American success within the culture without such cultural traditions. This experiment has already over ten years of data and only recently the New Russians began to realize that the screen stories can't be translated into actual Russian life. Anatoly Antohin Assoc. Prof. & Head Theatre UAF University of Alaska Fairbanks Fairbanks AK 99775 907-474-7751 http://members.spree.com/anatoly48/frussia/intro.html Father-Russia Files
I will be moving. A lot.
Here are some pages to help me (and you) to follow it.
Conferences (only, if something special, I will go again).[ use Google to search my both, theatre (vtheatre.net) and film (filmplus.org) sites! subscribe to forums: dramlit, directing, acting and etc. ] ©2004 filmplus.org *
Publishing? I guess, the "Biomechanics for Actors" and "System of the Method" to go first. When? I do not know, when the text-only version will be ready. I work on it, I even put on hold the nonfiction, but I do not have the first drafts (there are some empty spots in the composition of the textbooks). Also, I have to make my mind about the form; the scenes with Stanislavsky and Meyerhold! I fear to mess up the workbook idea with those dialogues. I would like to have this lively narrative, but only if it could help the books.
If I am with UAF and not on Fulbright in England, here are the classes I teach: 200X Aesthetics and Film & Video Directing.
Directing: HamletDreams 2001.
Film-North * Anatoly Antohin * eCitations
© 2005 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com
cite: anatoly antohin. URL + date [ my shows : 1. writer * 2. director * 3. dramaturg * 4. actor ]