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Theatre in a Media Culture: Production, Performance and Perception Since 1970, by Amy Petersen Jensen
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As the media have increasingly become the lens through which we see the world, media styles have shaped even the fine arts, and contemporary theatre is particularly indebted to mass media's dramatic influence. In order to stay culturally and financially viable, theatre producers have associated theatrical productions and their promotion with film, television, and the Internet by adopting new theatrical practices that mirror the form and content of mass communication. This work demonstrates how mediatization, or the adoption of the semantics and the contexts of mass media, has changed the way American theatre is produced, performed, and perceived. Early chapters use works like Robert Wilson's 3D digital opera Monsters of Grace and Thecla Schophorst's digitally animated Bodymaps to demonstrate the shifting nature of live performance. Critical analysis of the interaction between the live performer and digital technology demonstrates that the use of media technology has challenged and changed traditional notions of dramatic performance. Subsequent discussion sustains the argument that theatre has reconfigured itself to access the economic and cultural power of the media. Final chapters consider the extent to which mediatization undermines theatrical authorship and creativity.
- Sales Rank: #2342503 in Books
- Brand: Brand: McFarland Company
- Published on: 2007-03-12
- Released on: 2007-03-12
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .52" w x 6.89" l, .70 pounds
- Binding: Paperback
- 227 pages
- Used Book in Good Condition
About the Author
Amy Petersen Jensen is an assistant professor in the Department of Theatre and Media Arts at Brigham Young University in Provo, Utah.
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A Smart Start
By Let's Get Thoughtful
Amy Petersen Jensen's Theatre in a Media Culture is a thoughtful consideration on the way a mass-media inundated society has significantly changed the way spectators perceive and respond to theatrical works, and altered the way producers and artists put them on. She locates this change within the 20th century's long historical interplay between theatre and technology--from theatre (vaudeville) and film, to theatre and live television, to theatre and the internet. She explores examples of theatre that overtly use technology (screens, robots, etc.) to theatre uses that imply technology, either in subject matter or in staging techniques (like close-ups, slow-motion, etc.--what Jensen calls "directed focus"). She is most interested, though, in how the mass-mediated lives of spectators have fundamentally, phenomenologically altered the way viewers actually perceive theatre, whatever happens to be onstage. She calls the spectator's body (using Homi Bhabha's term) an interstitial space between theatre and media, transforming and solidifying the spectator as more active than passive in her meaning-making capabilities. Presence (mediated by emotional and visual proximity, not necessarily actual liveness) and nostalgia become more important than displays of actual reality.
While she states that she is interested in the spectator's occupation of a hybrid space between media and theatre, she never really gets at the subtleties of this suggestion, instead looking at how spectators relate in on-line chats, or sing-along nights instead of how they might read something differently in the performed moment. Her book begs for a greater expansion of this interstitial space, and how an audience member might occupy it.
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