Download Entr’acte: Performing Publics, Pervasive Media, and by Jordan Geiger (eds.) PDF

By Jordan Geiger (eds.)

ISBN-10: 1051271371

ISBN-13: 9781051271373

ISBN-10: 1137414189

ISBN-13: 9781137414182

ISBN-10: 1349492809

ISBN-13: 9781349492800

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Additional info for Entr’acte: Performing Publics, Pervasive Media, and Architecture

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The spectactors’ double lives as full participants is essential to fostering collaboration resistive to any fixed power structure or spatial configuration. 3 Boal workshop at Riverside Church in New York City, May 13, 2008. equalityisforall actively transform its audience as actor, to construct a scenario with like participants from the start, and to plan ahead strategically rather than tactically. It stages interventions proactively, with precise arenas of interest and known starting points. Synthesis What, then, does the entr’acte look like in the city itself, what situations does it model, and how is that model deployed?

Henri Bergson, Nancy Margaret Paul, and M. E. (Mary Emily) Dowson, Matter and Memory (London, NY: G. , 1912). Clay Shirky, “Faster and Faster,” in Here Comes Everybody: The Power of Organizing without Organizations (New York: Penguin Press, 2008). Paul Virilio, Lost Dimension (New York: Semiotext(e), 1983): 9–29. Interval 1 Supranational This first set of essays concerns formations that coalesce across national exigencies in space and time. At the nexus of financial, legal, and cultural forces without precedent, we now see populations the size of small towns living and working in buildings legible only at a great distance, and even planned to be viewed from above, as with a satellite.

Artaud sought to literally surround and envelope audiences viscerally, physically, and ultimately psychologically with stage and production, setting publics into sudden unity through its immersion in the spectacle. Brecht departed from this with his total distaste for illusion, constructing stagings that fostered an audience’s intellectual awareness of the production, purging all illusion or emotional manipulation. This strategy separated social and spatial constructions in order to draw distinctions between the theatre event (as a space of discourse) and public space outside (as real spaces of negotiation, where lessons learned in the theatre could be implemented).

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Entr’acte: Performing Publics, Pervasive Media, and Architecture by Jordan Geiger (eds.)


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