Kooperativer Bibliotheksverbund

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Format: 1 online resource

ISBN: 9781487514099

Content: The early years of the twenty-first century have witnessed a proliferation of non-fiction, reality-based performance genres, including documentary and verbatim theatre, site-specific theatre, autobiographical theatre, and immersive theatre. Insecurity: Perils and Products of Theatres of the Real begins with the premise that although the inclusion of real objects and real words on the stage would ostensibly seem to increase the epistemological security and documentary truth-value of the presentation, in fact the opposite is the case. Contemporary audiences are caught between a desire for authenticity and immediacy of connection to a person, place, or experience, and the conditions of our postmodern world that render our lives insecure. The same conditions that underpin our yearning for authenticity thwart access to an impossible real. As a result of the instability of social reality, the audience, Jenn Stephenson explains, is unable to trust the mechanisms of theatricality. The by-product of theatres of the real in the age of post-reality is insecurity.

Note: Frontmatter -- , Contents -- , Acknowledgments -- , 1. Introduction -- , 2. Real People Part 1: Winning and/or Losing the Game of Life in Autobiographical Performance – Winners and Losers -- , 3. Real People Part 2: Insecurity and Ethical Failure in the Encounter with Strangers – 100% Vancouver, RARE, and Polyglotte -- , 4. Real Words: Reproducing Life in Remediated Verbatim Theatre – Seeds and 300 TAPES -- , 5. Real Space: The Insecure Geographies of Site-Specific Audio Walks – Garden/ /Suburbia and Landline -- , 6. Real Bodies Part 1: The Traumatic Real in Immersive Performances of Political Crisis and Insecurity – Counting Sheep and Foreign Radical -- , 7. Real Bodies Part 2: Narcissistic Spectatorship in Theatrical “Haunted Houses” of Solo Immersive Performance – Everyman -- , 8. Coda: Theatres of the Real in the Age of Post-Reality -- , Notes -- , Bibliography -- , Index , In English.

Language: English

DOI: 10.3138/9781487514099

URL: https://doi.org/10.3138/9781487514099

UID:

Format: 1 Online-Ressource (viii, 286 Seiten)

ISBN: 9781487514099

Content: The early years of the twenty-first century have witnessed a proliferation of non-fiction, reality-based performance genres, including documentary and verbatim theatre, site-specific theatre, autobiographical theatre, and immersive theatre. Insecurity: Perils and Products of Theatres of the Real begins with the premise that although the inclusion of real objects and real words on the stage would ostensibly seem to increase the epistemological security and documentary truth-value of the presentation, in fact the opposite is the case. Contemporary audiences are caught between a desire for authenticity and immediacy of connection to a person, place, or experience, and the conditions of our postmodern world that render our lives insecure. The same conditions that underpin our yearning for authenticity thwart access to an impossible real. As a result of the instability of social reality, the audience, Jenn Stephenson explains, is unable to trust the mechanisms of theatricality. The by-product of theatres of the real in the age of post-reality is insecurity

Note: Includes bibliographical references and index , Mode of access: Internet via World Wide Web.

Additional Edition: ISBN 9781487501853

Additional Edition: Erscheint auch als Druck-Ausgabe Stephenson, Jenn, 1971 - Insecurity Toronto : University of Toronto Press, 2019 ISBN 1487501854

Additional Edition: ISBN 9781487501853

Language: English

Keywords: Kanada ; Theaterproduktion ; Wirklichkeit ; Geschichte 2000-

DOI: 10.3138/9781487514099

URL: lizenzpflichtig

URL: lizenzpflichtig

URL: Cover

URL: Cover

UID:

Format: 1 online resource (295 pages)

ISBN: 1-4875-1410-7 , 1-4875-1409-3

Content: "The early years of the twenty-first century have witnessed a proliferation of non-fiction, reality-based performance genres, including documentary and verbatim theatre, site-specific theatre, autobiographical theatre, and immersive theatre. Insecurity: Perils and Products of Theatres of the Real begins with the premise that although the inclusion of real objects and real words on the stage would ostensibly seem to increase the epistemological security and documentary truth-value of the presentation, in fact the opposite is the case. Contemporary audiences are caught between a desire for authenticity and immediacy of connection to a person, place, or experience, and the conditions of our postmodern world that render our lives insecure. The same conditions that underpin our yearning for authenticity thwart access to an impossible real. As a result of the instability of social reality, the audience, Jenn Stephenson explains, is unable to trust the mechanisms of theatricality. The by-product of theatres of the real in the age of post-reality is insecurity."--

Note: Cover; Contents; Acknowledgments; 1 Introduction; 2 Real People Part 1: Winning and/or Losing the Game of Life in Autobiographical Performance -- Winners and Losers; 3 Real People Part 2: Insecurity and Ethical Failure in the Encounter with Strangers -- 100% Vancouver, RARE, and Polyglotte; 4 Real Words: Reproducing Life in Remediated Verbatim Theatre -- Seeds and 300 TAPES; 5 Real Space: The Insecure Geographies of Site-Specific Audio Walks -- Garden/ /Suburbia and Landline , 6 Real Bodies Part 1: The Traumatic Real in Immersive Performances of Political Crisis and Insecurity -Counting Sheep and Foreign Radical7 Real Bodies Part 2: Narcissistic Spectatorship in Theatrical "Haunted Houses" of Solo Immersive Performance -- Everyman; 8 Coda: Theatres of the Real in the Age of Post-Reality; Notes; Bibliography; Index , Issued also in print. , In English.

Additional Edition: ISBN 1-4875-0185-4

Language: English

DOI: 10.3138/9781487514099