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E-raamat: Post-Cinematic Theatre and Performance

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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.

Arvustused

It is an illuminating contribution to previous research into the intermedial relation between theatre and film and a thoughtful response to new aesthetics emerging from their interplay. It is certainly more geared towards and intellectually rewarding for advanced scholars and expert readers in the areas of theatre and performance studies, film studies and media theory. (Claudia Georgi, Journal of Contemporary Drama in English, Vol. 4 (2), November, 2016)

List of Figures
vi
Series Editors' Preface viii
Acknowledgements ix
1 The Post-Cinematic Landscape
1(38)
2 Decalage and Mediaphors in Robert Lepage's Elsinore and The Andersen Project
39(34)
3 Acinematic Montage in Roadmetal Sweetbread and A Mare's Nest
73(30)
4 Guilty Pleasures and Intermedial Archaeologies in the Wooster Group's House/Lights and Hamlet
103(25)
5 The Ethics of Perception in Wunschkonzert
128(24)
6 Disorienting Landscapes in Hotel Methuselah
152(36)
7 Pedipulating `Footage' in Duncan Speakman's As If It Were The Last Time
188(26)
8 Landscapes and Aporias in Lars von Trier's Dogville
214(33)
9 Conclusion
247(6)
Notes 253(6)
Bibliography 259(8)
Index 267
Piotr Woycicki is a Lecturer in Theatre and Performance Studies at Aberystwyth University, UK. His previous publications include articles in the Journal of Beckett Studies and the Journal of Performance Research.
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