To curate a part of one’s soul. Transplanting a performance in three (radically) different spaces
DOI:
https://doi.org/10.24193/subbdrama.2017.2.10Keywords:
curating, interaction, independent theatre, space, distance, audienceAbstract
The curating process of a performance like 4.48 Psychosis by Sarah Kane constitutes a reflection of a round, back and forward act of doubt and belief. A suitable or a malicious managerial decision in chancing a given data in the performance can determine the path and the course of the show. Every act or management action can alter the channels of communicating with the audience and its perception and reception of the performance.References
Budău-Tunyagi, Ozana. “The Psychological Mechanism of Trauma and Its Effects on Sarah Kane’s Experimental Theater.” Studia UBB Dramatica LIX, no. 2 (2014).
Gabriel, Sandu. “De Ce Teatrele Românești Sunt Conduse de Actori Și Regizori Cu Mandate Infinite [Why Romanian Theater Institutions Are Managed by Actors and Directors with Infinite Mandates].” Vice, February 2, 2016. https://www.vice.com/ro/article/de-ce-teatrele-romanesti-sunt-conduse-de-actori-si-regizori-cu-mandate-infinite-577.
Pavis, Patrice. Dictionary of the Theatre, Terms, Concepts and Analysis. Toronto: University of Toronto Press, 1998.
Sierz, Aleks. In-Yer-Face Theatre: British Drama Today. London: Faber & Faber, 2001.
“What Is in-Yer-Face Theatre?” In-yer-face Theatre. Accessed July 9, 2017. http://www.inyerfacetheatre.com/what.html.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2017 Studia Universitatis Babeș-Bolyai Dramatica
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
