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Performance Design de Dorita Hannah

Performance Design

Editat de Dorita Hannah, Harsløf Olav
en Limba Engleză Paperback – 14 aug 2008
This book gathers together a group of international artists, architects, scenographers, performers, and theorists to establish Performance Design as a fluid and emerging field, which explores the speculative and projective acts of designing performance and performing design.
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Specificații

ISBN-13: 9788763507844
ISBN-10: 8763507846
Pagini: 336
Ilustrații: colour photos
Dimensiuni: 150 x 250 x 28 mm
Greutate: 0.98 kg
Editura: Museum Tusculanum Press
Colecția Museum Tusculanum Press

Notă biografică

Dorita Hannah is associate professor of Design at Massey University’s College of Creative Arts in New Zealand.
Olav Harsløf is Professor in the Department of Performance Design at Roskilde University, Denmark.

Cuprins

Preface
      Edward Scheer
Introduction
      Dorita Hannah and Olav Harsløf
I: Display
The Power of Space in a Virtual World
      Arnold Aronson
The Ambit of Performativity
      Kathleen Irwin
Drawing upon the Aesthetics of Immersion
      Lisa Munnelly
Plastic Forest
      Rodrigo Tisi
Light as Action
      Fabrizio Crisafulli
Antarctic Shopping Party
      ACD Art Design Collective
Jesus_c_odd_size
      Kirsten Dehlholm
II: Encounter
Global Feeling
      Jon McKenzie
Kafka’s Door
      Lilja Blumenfeld
Street Noise
      Brandon LaBelle
Encounters with Simple Pleasures
      Catherine Bagnall
The Memory Project
      Luca Ruzza
“Her Topia”, A Dance-Architecture Event
      Dorita Hannah
Quarantine Theatre Company
      Simon Banham
III: Construct
Dancing-Drawing Fields of Presence in SeaUnSea
      Carol Brown and Mette Ramsgard Thomsen
Phantom of the Operas in Sydney and Copenhagen
      Olav Harsløf
You Are Here
      John Di Stefano
Under the Surface – Looking into Springtime
      Jan Krag Jacobsen
SEEN Fruits of our Labor
      Omar Khan
Homesick
      Joslin McKinney
The Water Banquet
      Richard Downing
Contributors
Bibliography

Recenzii

“The volume is beautifully illustrated with powerful and evocative photographic images of completed projects as well as examples of drawing as process. . . . This thought provoking book makes an important contribution to current discourses in the expanding field of performance and scenography. It confirms the imaginative links that are being made across disciplines as well as articulating the need for informed critical analysis of these emerging practices. It provides a valuable resource to students at all levels and to practitioners working in design and performance, but its relevance extends beyond the arts into science, technology, and global politics.” 

“One hell of a book, throughout its 300 pages poking and prodding the general question of what exactly is being placed in the frame, in the mise-en-scène, in terms of both sight and sound, and to be viewed from exactly which vantage points. . . . This cornucopia of a book, in a collection which is richly and intelligently laid out and illustrated, generously throws questions at us, asking throughout why we are so rigidly fixed to cultural practices, professional or amateur, that are still defined by separations between this and that: art, theatre, music, film, literature, science, business, education, community, politics. . . . This book helped me realise further how far we’ve come in the range of our thinking on this score since when one of the best questions we could provide might once have been building wood and canvas sets for amateur dramatics.”

“Peppered with detailed photographs and intriguing sketches, this uniquely tactile book is an anthology of how the established concepts of performance studies are being applied to the investigation of designed environments. With erudite theoretical accounts augmented by visual essays, it locates the question of the performative within a wider discourse on design and encounter. . . . As a whole, the collection traces, with scholarly conviction and artistic ease, how the remit of scenography has begun to wander outside the conventional boundaries of the stage. From fine art to architecture, students and scholars alike will undoubtedly benefit from its lucid arguments, visual descriptions, and the idea that the ‘autonomous art object’ has been surpassed by the ‘dynamic principle of embodied spatio-temporal event.’”