Re-Locating the Spectator – The Squat Theater’s Use of Media and Space
Kulcsszavak:
mediaAbsztrakt
Based on the concepts of intermediality (Balme, Boenisch and Kattenbelt) and heterotopy (Foucault), my paper investigates the special features of the New York-based Squat Theater: their use of media and space. Focusing mostly on their second major, New York-performance, “Andy Warhol’s Last Love” (1978), I would like to analyze how they created a liminal zone (Turner) in-between times and spaces, which re-located the spectators’ position and re-interpreted their function.
Hivatkozások
AWLL, 1978, Andy Warhol’s last Love by SQUAT THEATRE. [Videotape]. Budapest: Országos Színháztörténeti Múzeum és Intézet.
APPADURAI, Arjun, 1990. Disjuncture and Difference in the Global Cultural Economy, Public Culture, 1990(2), p. 1-24.
a. u. 1979 – N. N., Squat Play Banned in Bruxelles: Andy Warhol’s Last Love. The Associated Press, 2 November, 1979. [Accessed: 20 January, 2016]. Retrieved from: http://squattheatre.com/article04.html.
BALME, Christopher, 2004. Intermediality – Rethinking the Relationship between Theatre and Media, Thewis, 2004, 1. [Accessed 1 Oct. 2013]. Retrieved from:
BALME, Christopher, 2006. Audio Theatre: The Mediatization of Theatrical Space. In: Chapple, F. and Kattenbelt, C. Intermediality in Theatre and Performance. Amsterdam and New York: Rodopi, p. 117-124.
BOENISCH, Peter M., 2003. Comedia ElectrONica: Performing Intermediality. In: Contemporary Theatre, Theatre Research International, 2003(1), p. 34-45.
BOENISCH, Peter M., 2006. Aesthetic Art to Aesthetic Act: Theatre, Media, and Intermedial Performance. In: Chapple, F. and Kattenbelt, C. Intermediality in Theatre and Performance. Amsterdam and New York: Rodopi, p. 103-116.
BOLTER, Jay David and GRUSIN, Richard, 2000. Remediation: Understanding New Media, Cambridge, Massachusetts: MIT Press.
BROOK, Peter, 1968. The Empty Space, London and New York: Penguin.
BUCHMULLER, Eva and KOÓS, Anna, 1996. Squat Theatre, New York: Artists Space.
CARROLL, Noel, 1978. Organic Analysis. The Drama Review: TDR, 1978(3): p. 33-44.
CHAPPLE, Freda and KATTENBELT, Chiel, 2006. Key Issues in Intermediality in Theatre and Performance. In: Chapple, F. and Kattenbelt, C. Intermediality in Theatre and Performance. Amsterdam and New York: Rodopi, p. 11-25.
COPELAND, Roger, 1982. Squat Theater Explodes Conventions. New York Times, 17 October, 1982.
CREGAN, David, 1977. Squat Theatre. Plays and Players, June 1977.
DASGUPTA, Gautam, 1983. SQUAT: Nature Theatre of New York. Performing Arts Journal, 1983(1), p. 7-20.
DEBORD, Guy, 1992. Society of the Spectacle and Other Films. London: Rebel Press.
DERES, Kornélia, 2015. Színház, technológia, intermedialitás – A mozgókép hatásesztétikája a kortárs színházi előadásokban (doktori disszertáció). Budapest: ELTE BTK.
DIXON, Steve, 2007. Digital Performances: A History of New Media in Theater, Dance, Performance Art and Installation, Cambridge, MA: MIT Press.
FOUCAULT, Michel, 1984. Of Other Places: Utopias and Heterotopias. Architecture/Movement/Continuité, October, 1984. [Accessed, 17.12.2017]. Retrieved from: http://web.mit.edu/allanmc/www/foucault1.pdf.
GOLDBERG, RoseLee, [1979] 2011. Performance Art from Futurism to the Present. New York and London: Thames and Hudson.
GOLDFARB, Jeffrey, 1980. The Repressive Context of Art Work. Theory and Society, 1980(4), p. 623-632.
KATTENBELT, Chiel, 2006. Theatre as the Art of the Performer and the Stage of Intermediality. In: Chapple, F. and Kattenbelt, C. Intermediality in Theatre and Performance. Amsterdam and New York: Rodopi, p. 29-39.
KATTENBELT, Chiel, 2008. Intermediality in Theatre and Performance: Definitions, Receptions and Medial Relationships. Culture, Language and Representation. 2008(6), p. 19-29.
KIRBY, Michael, 1965. Happenings. New York and London: E. P. Dutton and Co.
KITTLER, Friedrich, 2005. Optikai médiumok, Berlini előadások, 1999. Budapest: Magyar Műhely-Ráció.
KOÓS, Anna, 2009. Színházi történetek – szobában, kirakatban, Budapest: Akadémiai.
KOSTELANETZ, Richard, 1968. Theatre of Mixed Means – An Introduction to Happenings, Kinetic Environments, and other mixed-means performances. New York: The Dial Press.
LEVANDER, Andy, 2006. Mise en Scène, Hypermediacy and the Sensorum. In Chapple, F. and Kattenbelt, C. Intermediality in Theatre and Performance. Amsterdam and New York: Rodopi, p.55-66.
MARRANCA, Bonnie, Rabkin, Gerald and Birringer, Johannes. The Controversial 1985-1986 Theatre Season: A Politics of Reception. Performing Art Journal, 1986(1), p. 7-33.
SCHECHNER, Richard, 1978. Anthropological Analysis: Before and After Andy Warhol’s Last Love. The Drama Review: TDR 1978(3), p.23-32.
SCHRÖTER, Jens, 2011. Discourses and Models of Intermediality. CLCWeb: Comparative Literature and Culture, Vol. 13/3. [Accessed, 17.11.2017]. Retrieved from: https://docs.lib.purdue.edu/clcweb/vol13/iss3/3/.
SHANK, Theodore, 1977. Squat’s Pig, Child, Fire!. The Drama Review: TDR. 1977(3), p.95-100.
SHANK, Adele Edling and SHANK, Theodore, 1978. Squat Theatre’s Andy Warhol’s Last Love. The Drama Review: TDR 1978(3), p.11-22.
DESSEWFFY, Tibor, 2004. Bevezetés a jelenbe/Introduction to the Present. Tankönyvkiadó: Budapest: Nemzeti Tankönyvkiadó.
SHEWEY, Don, 1987. “Squat Theater and the Art of Living”. On the Next Wave, October 1987.
SQUAT Theatre, 1978. Answers. The Drama Review: TDR 1978(3), p.3-10.
STERRITT, David, 1982. Shows that literally spill out onto the Street. Christian Science Monitor, 23 November, 1982, p.19.
TURNER, Edith, 1985. Philip Kabwita, Ghost Doctor: The Ndembu in 1985. The Drama Review: TDR, 1986(4), p.12-35.
WAGNER, Meike, 2006. Of Other Bodies: The Intermedial Gaze in Theatre. In: Chapple, F. and Kattenbelt, C. Intermediality in Theatre and Performance. Amsterdam and New York: Rodopi, p.125-136.
WEISBROD, Carl B., 1979. Tracking down Porn in the Big Apple. The Washington Post, 20 May, 1979. [Accessed: 20 January 2016]. Retrieved from: http://squattheatre.com/article20.html.
Downloads
Megjelent
Hogyan kell idézni
Folyóirat szám
Rovat
License

This work is licensed under a Creative Commons Attribution 4.0 International License.
A CC-BY engedélyezi a sokszorosítást, terjesztést, archiválást és idézést, feltéve, hogy a szerzőket feltüntetik. A cikk teljes idézése szükséges, amely az ezen az oldalon található Idézési példák között található. Ha lehetséges, kérjük, adja meg a linket erre a honlapra. A szerzői jog a szerzőket illeti.

