Post-Cinematic Theatre and Performance

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.

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)

Autorentext

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.

Inhalt
List of Figures Series Editors' Preface Acknowledgements 1. The Post-Cinematic Landscape 2. Décalage and Mediaphors in Robert Lepage's Elsinore and The Andersen Project 3. Acinematic Montage in Roadmetal Sweetbread and Mare's Nest 4. Guilty pleasures and intermedial archaeologies in Wooster Group's House/Lights and Hamlet 5. The Ethics of Perception in Wunschkonzert 6. Disorienting Landscapes in Hotel Methuselah 7. Pedipulating 'footage' in Duncan Speakman's As if it were the last time 8. Landscapes and Aporias in Lars Von Trier's Dogville 9. Conclusion Bibliography Index