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(Syn)aesthetics = redefining visceral performance /

紀錄類型:	書目-電子資源 : 單行本
正題名/作者:	(Syn)aesthetics/ Josephine Machon.
其他題名:	redefining visceral performance /
作者:	Machon, Josephine,
出版者:	Basingstoke :Palgrave Macmillan, : 2009.,
面頁冊數:	xvii, 221 p. :ill. ; : 23 cm.;
標題:	Theater. -
電子資源:	access to fulltext (Palgrave)
ISBN:	9780230236950

(Syn)aesthetics = redefining visceral performance /
Machon, Josephine,1979-

(Syn)aestheticsredefining visceral performance /[electronic resource] :Josephine Machon. - Basingstoke :Palgrave Macmillan,2009. - xvii, 221 p. :ill. ;23 cm.

Includes bibliographical references and index.

Introduction: Redefining Visceral Performance -- PART I -- Defining (Syn)aesthetics -- Connecting Theories -- (Syn)aesthetics in Practice -- PART II -- Introduction - A (Syn)aesthetic Exchange -- Felix Barrett & Maxine Doyle of Punchdrunk: In the Prae-sens of Body and Space - the (syn)aesthetics of Site-sympathetic Work -- Lizzie Clachan & David Rosenberg of Shunt Theatre Collective: A Doorinto Another World -- The Audience and Hybridity -- Akram Khan: The Mathematics of Sensation -- TheBody as Site/Sight/Cite and Source -- Marisa Carnesky: Trapping the Audience in the Fantasy - Instinct, the Body, the Magic of the Experiential -- Naomi Wallace & Kwame Kwei-Armah: Desire, the Body and Transgressive Acts of Playwriting - on Writing and Directing Things of Dry Hours -- Linda Bassett: Bypassing the Logical - Performing Churchill's Far Away -- Jo McInnes: A Text That Demands to be Played With - Performing Kane's 4.48 Psychosis -- Graeae's Jenny Sealey & Playwright Glyn Cannon: Seeing Words and (Dis)comfort Zones - the Fusion of Bodies, Text and Technology in On Blindness -- SaraGiddens & Simon Jones of Bodies In Flight: The In-betweens, Where Flesh Utters and Words Move -- OnFlesh, Text, Space and Technologies -- Leslie Hill & Helen Paris of Curious: Embodied Intimacies - On (the) Scent, Memory and the Visceral-Virtual -- Bibliography -- Index.

(Syn)aesthetics offers an original theory that describes a range of performance work whilst simultaneously providing a critical discourse for appreciating and analyzing such work. In the book, Machon helps to articulate the power of experiential practice in the interdisciplinary arts, encompassing bodies, space, the written and spoken word and new technologies in performance. This exciting approach incorporates interviews with leading practitioners in the field of theatre, dance, site-specific work, live art and technological performance practice including Punchdrunk, Shunt, Graeae, Bodies In Flight, Curious, Akram Khan, Naomi Wallace, Kwame-Kwei-Armah, Marisa Carnesky, Linda Bassett and Jo McInnes. These discussions clarify how (syn)aesthetics works in practice across diverse artistic events and document the tantalizing, performative quality present in the (syn)aesthetic exchangebetween thinking and practice. (Syn)aesthetics engages a unique and sensual approach to thinking/producing/writing/receiving, which celebrates the continuum of experience that underpins (syn)aesthetic practice and appreciation. By acknowledging individual interpretation as a creative act and emphasizing the playful element of arts analysis (syn)aesthetics is an empowering tool for students and practitioners of performance, especially those wary of or inhibited by traditional academic discourse.

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2009.

Mode of access:World Wide Web.

ISBN: 9780230236950

Standard No.: 10.1057/9780230236950doiSubjects--Topical Terms:

92313
Theater.
Index Terms--Genre/Form:

96803
Electronic books.

LC Class. No.: PN2039 / .M29 2009

Dewey Class. No.: 792.01

(Syn)aesthetics = redefining visceral performance /
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504 $a Includes bibliographical references and index.
505 0 $a Introduction: Redefining Visceral Performance -- PART I -- Defining (Syn)aesthetics -- Connecting Theories -- (Syn)aesthetics in Practice -- PART II -- Introduction - A (Syn)aesthetic Exchange -- Felix Barrett & Maxine Doyle of Punchdrunk: In the Prae-sens of Body and Space - the (syn)aesthetics of Site-sympathetic Work -- Lizzie Clachan & David Rosenberg of Shunt Theatre Collective: A Doorinto Another World -- The Audience and Hybridity -- Akram Khan: The Mathematics of Sensation -- TheBody as Site/Sight/Cite and Source -- Marisa Carnesky: Trapping the Audience in the Fantasy - Instinct, the Body, the Magic of the Experiential -- Naomi Wallace & Kwame Kwei-Armah: Desire, the Body and Transgressive Acts of Playwriting - on Writing and Directing Things of Dry Hours -- Linda Bassett: Bypassing the Logical - Performing Churchill's Far Away -- Jo McInnes: A Text That Demands to be Played With - Performing Kane's 4.48 Psychosis -- Graeae's Jenny Sealey & Playwright Glyn Cannon: Seeing Words and (Dis)comfort Zones - the Fusion of Bodies, Text and Technology in On Blindness -- SaraGiddens & Simon Jones of Bodies In Flight: The In-betweens, Where Flesh Utters and Words Move -- OnFlesh, Text, Space and Technologies -- Leslie Hill & Helen Paris of Curious: Embodied Intimacies - On (the) Scent, Memory and the Visceral-Virtual -- Bibliography -- Index.
520 $a (Syn)aesthetics offers an original theory that describes a range of performance work whilst simultaneously providing a critical discourse for appreciating and analyzing such work. In the book, Machon helps to articulate the power of experiential practice in the interdisciplinary arts, encompassing bodies, space, the written and spoken word and new technologies in performance. This exciting approach incorporates interviews with leading practitioners in the field of theatre, dance, site-specific work, live art and technological performance practice including Punchdrunk, Shunt, Graeae, Bodies In Flight, Curious, Akram Khan, Naomi Wallace, Kwame-Kwei-Armah, Marisa Carnesky, Linda Bassett and Jo McInnes. These discussions clarify how (syn)aesthetics works in practice across diverse artistic events and document the tantalizing, performative quality present in the (syn)aesthetic exchangebetween thinking and practice. (Syn)aesthetics engages a unique and sensual approach to thinking/producing/writing/receiving, which celebrates the continuum of experience that underpins (syn)aesthetic practice and appreciation. By acknowledging individual interpretation as a creative act and emphasizing the playful element of arts analysis (syn)aesthetics is an empowering tool for students and practitioners of performance, especially those wary of or inhibited by traditional academic discourse.
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