語系:
繁體中文
English
說明(常見問題)
登入
回首頁
切換:
標籤
|
MARC模式
|
ISBD
Beyond immersive theatre = aesthetic...
~
Alston, Adam.
Beyond immersive theatre = aesthetics, politics and productive participation /
紀錄類型:
書目-語言資料,印刷品 : Monograph/item
正題名/作者:
Beyond immersive theatre/ by Adam Alston.
其他題名:
aesthetics, politics and productive participation /
作者:
Alston, Adam.
出版者:
London :Palgrave Macmillan UK : : 2016.,
面頁冊數:
xiii, 241 p. :ill., digital ; : 22 cm.;
Contained By:
Springer eBooks
標題:
Performing arts - Audiences. -
電子資源:
http://dx.doi.org/10.1057/978-1-137-48044-6
ISBN:
9781137480446
Beyond immersive theatre = aesthetics, politics and productive participation /
Alston, Adam.
Beyond immersive theatre
aesthetics, politics and productive participation /[electronic resource] :by Adam Alston. - London :Palgrave Macmillan UK :2016. - xiii, 241 p. :ill., digital ;22 cm.
Introduction -- 1.Theatre in a Box: Affect and Narcissism in Ray Lee's Cold Storage -- 2.Theatre in the Dark: Spectatorship and Risk in Lundahl & Seitl's Pitch-black Theatre -- 3.Theatre through the Fireplace: Punchdrunk and the Neoliberal Ethos -- 4.Frustrating Theatre: Shunt in the Experience Economy -- 5.Theatre in the Marketplace: Immaterial Production in Theatre Delicatessen's Theatre Souks -- Conclusion.
Immersive theatre currently enjoys ubiquity, popularity and recognition in theatre journalism and scholarship. However, the politics of immersive theatre aesthetics still lacks a substantial critique. Does immersive theatre model a particular kind of politics, or a particular kind of audience? What's involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience's empowerment stand up to political scrutiny? Beyond Immersive Theatre contextualises these questions by tracing the evolution of neoliberal politics and the experience economy over the past four decades. Through detailed critical analyses of work by Ray Lee, Lundahl & Seitl, Punchdrunk, shunt, Theatre Delicatessen and Half Cut, Adam Alston argues that there is a tacit politics to immersive theatre aesthetics - a tacit politics that is illuminated by neoliberalism, and that is ripe to be challenged by the evolution and diversification of immersive theatre.
ISBN: 9781137480446
Standard No.: 10.1057/978-1-137-48044-6doiSubjects--Topical Terms:
662300
Performing arts
--Audiences.
LC Class. No.: PN1590.A9 / A47 2016
Dewey Class. No.: 792.01
Beyond immersive theatre = aesthetics, politics and productive participation /
LDR
:02422nam a2200313 a 4500
001
864424
003
DE-He213
005
20161101113122.0
006
m d
007
cr nn 008maaau
008
170720s2016 enk s 0 eng d
020
$a
9781137480446
$q
(electronic bk.)
020
$a
9781137480439
$q
(paper)
024
7
$a
10.1057/978-1-137-48044-6
$2
doi
035
$a
978-1-137-48044-6
040
$a
GP
$c
GP
041
0
$a
eng
050
4
$a
PN1590.A9
$b
A47 2016
072
7
$a
AS
$2
bicssc
072
7
$a
PER000000
$2
bisacsh
082
0 4
$a
792.01
$2
23
090
$a
PN1590.A9
$b
A464 2016
100
1
$a
Alston, Adam.
$3
1109299
245
1 0
$a
Beyond immersive theatre
$h
[electronic resource] :
$b
aesthetics, politics and productive participation /
$c
by Adam Alston.
260
$a
London :
$c
2016.
$b
Palgrave Macmillan UK :
$b
Imprint: Palgrave Macmillan,
300
$a
xiii, 241 p. :
$b
ill., digital ;
$c
22 cm.
505
0
$a
Introduction -- 1.Theatre in a Box: Affect and Narcissism in Ray Lee's Cold Storage -- 2.Theatre in the Dark: Spectatorship and Risk in Lundahl & Seitl's Pitch-black Theatre -- 3.Theatre through the Fireplace: Punchdrunk and the Neoliberal Ethos -- 4.Frustrating Theatre: Shunt in the Experience Economy -- 5.Theatre in the Marketplace: Immaterial Production in Theatre Delicatessen's Theatre Souks -- Conclusion.
520
$a
Immersive theatre currently enjoys ubiquity, popularity and recognition in theatre journalism and scholarship. However, the politics of immersive theatre aesthetics still lacks a substantial critique. Does immersive theatre model a particular kind of politics, or a particular kind of audience? What's involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience's empowerment stand up to political scrutiny? Beyond Immersive Theatre contextualises these questions by tracing the evolution of neoliberal politics and the experience economy over the past four decades. Through detailed critical analyses of work by Ray Lee, Lundahl & Seitl, Punchdrunk, shunt, Theatre Delicatessen and Half Cut, Adam Alston argues that there is a tacit politics to immersive theatre aesthetics - a tacit politics that is illuminated by neoliberalism, and that is ripe to be challenged by the evolution and diversification of immersive theatre.
650
0
$a
Performing arts
$x
Audiences.
$3
662300
650
0
$a
Participatory theater.
$3
942135
650
0
$a
Experimental theater.
$3
937474
650
0
$a
Theater audiences.
$3
557090
650
0
$a
Theater
$x
Production and direction.
$3
649122
650
1 4
$a
Cultural and Media Studies.
$3
1070598
650
2 4
$a
Performing Arts.
$3
670086
710
2
$a
SpringerLink (Online service)
$3
593884
773
0
$t
Springer eBooks
856
4 0
$u
http://dx.doi.org/10.1057/978-1-137-48044-6
950
$a
Literature, Cultural and Media Studies (Springer-41173)
筆 0 讀者評論
多媒體
評論
新增評論
分享你的心得
Export
取書館別
處理中
...
變更密碼[密碼必須為2種組合(英文和數字)及長度為10碼以上]
登入