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Book Details
Abstract
The Sensible Stage is a collection of essays exploring the use of live performance and moving image in contemporary art practice. It engages with a global phenomenon in which elements from theatre and cinema are integrated into art as forms of archive, questioning the concept of materiality and undermining the boundaries between what we understand as ‘live’ or ‘mediated’, the ‘body’ or the ‘image’. Opening with a discussion between prominent philosopher Alain Badiou and Elle During, this book is grounded in the practice it analyses, bringing together a unique mixture of theoretical, creative and discursive reflections on the meeting of stage and screen. This expanded edition is an updated, in-depth insight into this highly important development in contemporary art practice, and contains revised material from the previous publication as well as two original chapters.
Table of Contents
Section Title | Page | Action | Price |
---|---|---|---|
Cover | Cover | ||
Half Title | i | ||
Title | iii | ||
Copyright | iv | ||
Contents | vii | ||
Acknowledgements | ix | ||
Introduction | 1 | ||
Chapter I: A Theatre of Operations: A Discussion between Alain Badiou and Elie During | 17 | ||
Chapter II: Performer, Audience, Mirror: Cinema, Theatre and the Idea of the Live | 31 | ||
Chapter III: ‘Je suis photographe’: Figures of Cinematic Narrators | 49 | ||
Chapter IV: Spectators, Objects and Infrastructures: A Discussion between Dan Kidner and Bridget Crone | 65 | ||
Chapter V: Treatise on Movement | 83 | ||
Chapter VI: Moving Poses / Arresting Feeling: Jimmy Robert’s L'Education Sentimentale | 99 | ||
Chapter VII: Between the Body and Object the Voice Appears: Yael Davids’ Learning to Imitate and Learning to Imitate in Absentia | 115 | ||
Chapter VIII: The Subject in Process: Material Equations in the Work of Carolee Schneemann and Annabel Nicolson | 125 | ||
Chapter IX: Working Songs: ‘yes to the connection between voice and audience’ | 137 | ||
Chapter X: The Gesture of the Muted Voice: Cara Tolmie’s Myriad Mouth Line | 149 | ||
Chapter XI: The Divided Stage: Splitting the Dialectics of Performance | 159 | ||
Chapter XII: Notes Towards a Sensible Stage | 171 | ||
Contributors | 187 | ||
Back Cover | Back Cover |