Spectators or Participants? A Major Creative Shift in Performing Arts or a Change of Status? (Remarks on a Process)

Authors

  • Marian POPESCU Professor of Performance Studies and Communication at the University of Bucharest, e-mail: marian.popescu@fjsc.ro; http://www.marianpopescu.arts.ro

Keywords:

spectator, theatre, performance, perspective, identification, representation, consubstantiality, digital culture

Abstract

This article is a reflection of my research on the Anatomic Theatre. I question the theatre performance in the digital culture that makes out of this specific artistic procedure - to place the viewer as a Witness or as a Participant - one of the accommodating narratives of the theatre. Theatre direction is thus a μεταφορά (“transport” in Gr.), a theoretical vehicle that would result in a practice where viewers’ position towards performance is disputed between being Spectator or Participant.

Author Biography

Marian POPESCU, Professor of Performance Studies and Communication at the University of Bucharest, e-mail: marian.popescu@fjsc.ro; http://www.marianpopescu.arts.ro

MARIAN POPESCU is Professor at the University of Bucharest where he’s currently teaching Public Communication, Performance and Creative Communication, Journalism and the Performing Arts and Presentation and Speaking in Public. Main expertise in: Communication, Performing Arts and Cultural Policies. In 2011 he published Theatre and Communication. Current research activities are focused on the performativity of speaking in public.

References

NĀṬYAŚĀSTRA, translated from Sanskrite and edited by Amita Bhose, Constantin Făgețan, București: Editura Științifică, Bibliotheca Orientalis, 1997, Print

BLAKESLEY, David. “Chapter Five: Defining Film Rhetoric: The Case of Hitchcock's Vertigo,” in Defining Visual Rhetorics, ed. Charles A. Hill and Marguerite Helmers (Mahwah, NJ: Lawrence Erlbaum Associates, 2004), 124, http://www.questia.com/ read/104638134/defining-visual-rhetorics (accessed august 2, 2015)

BURKE, Kenneth. A Rhetoric of Motives, Berkely/Los Angeles/London: University of California Press, 1969 (orig.ed. 1950), Print

CASSIRER, Ernest. Philosophie der Symbolischen Formen, I, Berlin: “Die Sprache”, 1923 (quoted in Damisch)

DAMISCH, Hubert. L’origine de la perspective, Paris: Flammarion, 1993

De CERTEAU. Michel. L’invention du quotidien. 1. Arts de faire, Paris: Gallimard/Folio, 1990, Print

LEY, Graham. “Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse,” Asian Theatre Journal 17, no. 2 (2000), © 2008 University of Hawaii Press. © 2000 Gale Group. http://www.questia.com/read/1G1-68872769/aristotle-s-poetics-bharatamuni-s- (accessed august 2, 2015)

WADE, Nicholas J. and SWANSTON Michael T. Visual Perception: An Introduction, 2nd ed. (London: Psychology Press, 2001), 243 http://www.questia.com/read/108802985/visual-perception-an-introduction.natyasastra-and (accessed august 1, 2015)

STUDIA UBB DRAMATICA, Volume 60 (LX), No. 2, October 2015

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Published

2015-10-30

How to Cite

POPESCU, M. (2015). Spectators or Participants? A Major Creative Shift in Performing Arts or a Change of Status? (Remarks on a Process). Studia Universitatis Babeș-Bolyai Dramatica, 65(2), 233–238. Retrieved from https://studia.reviste.ubbcluj.ro/index.php/subbdramatica/article/view/4473

Issue

Volume 60, No. 2, October 2015

Section

Articles

License

Copyright (c) 2015 Studia Universitatis Babeș-Bolyai Dramatica

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

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