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Essay / Research Paper Abstract
A 7 page paper which examines the role of
documentation in the live performing arts. Adrian Piper and Stuart Brisley are the focus
in relationship to performing artists. Bibliography lists 8 sources.
Page Count:
7 pages (~225 words per page)
File: JR7_RAlivart.rtf
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Unformatted sample text from the term paper:
society in general. There has, however, been a great deal of research and analyses concerning such a reality. With that in mind the following paper examines two works that address
the performing arts. One work is Philip Auslanders "Liveness" and the other work to be examined is Peggy Phelans "Unmarked." The paper then briefly presents a look at the artists
Adrian Piper and Stuart Brisley. The paper finishes with a discussion of how the written works help us to understand the performing arts that involve such people as Piper and
Brisley. Liveness In looking at Auslanders work we focus on one particular chapter which discusses live performance in the theatre. "Early cinema copied the dramaturgy and acting styles
of theatre, eventually developing its own vocabulary and drawing away much of the audience for live theatre as popular entertainment. Television, in turn, did not embrace the camera-driven model of
film but, rather, returned to theatre in an attempt to create a televisual essence centered on liveness" (Chansky, 2003). In doing this "television not only siphoned off yet more of
the audience for live theatre but managed to remediate theatre at the ontological level through its claim to immediacy (13). The upshot is that audiences now expect live performances to
resemble mediatized ones (25)" (Chansky, 2003). At this point Auslander begins to focus on "media epistemology" as it influences "everything from audience expectation of what is realistic in
acting to character construction in solo performance pieces. He also points out that the uses of live and mediatized forms are determined by cultural economy, not by intrinsic differences" (Chansky,
2003). Auslander (1999) also notes that "the dynamic of performance ... is predicated on the distinction between performers and audience" not on their unity (p. 56). Unmarked
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