[Realism Now!]  [Perf Art MAIN page]
Performed Theatre
See also:  [(art) concepts]
                  [Art Movements]
                  [Coerced performance]

          -[post post-modernism]-

Note: For things like lighting and such, refer to:

         -['Lighting']-
                 in film (A/H - as art element/technique
 
              [Performed Art]
              [The Performed Art Technology]
              [The Performed Danse]
              [Performed Art: Filmed]
              [The Performed Performance]
              [The Performed Score]
              [Performed Text]
              [The Performed UFO's] (and esp, etc)
              [The Performed WEB (including programming)]

           [Dada]
               [Dadaism]  (an art "ism")
               [Performance frank:  Realism Now!]
                  [Fluxus]
                  [Street Art]
                  [Interventionist Art]
                  [T.A.Z.] (Association for Ontological Anarchy)
                                                    (Hakim Bey, chief janitor)               
           [Frank's stuff]

Performed Theatre

See also:  {Perf art vs Theatre]- (in perf-art-act)

On this page:  {Intro}
               {Stuff}

  

Intro

Theatre as such has its "expectations", and of course
part of what we do as performance artists is based on
that. And of course, we take it as read that much of
theatre has a very established "look and feel". Thus,
in theatre classes we talke about the procenium and
thrust stages, the fly system, and the some-times
orchestra pit, etc.

When we think of modern theatre, we think of the strides
in minimalism that take place in things like "Our Town",
"Waiting for Godot", and of course all things Brechtian
-- not that he was limited to "THE Brechtian Style" any
more than is/was/will-be any other playwrite, stage
decorateur, etc.

Films that take the "play within the play" are things like
"How to Kill Your Neighbor's Dog", "Hamlet", Taming of the 
Shrew", and of course all "Backstage Musicals". And that 
too is part of the "read text". And even immersive theatre
has "crept into" traditional works; eg, in the performance
of Ms. Ford's "Charlie and the Chocolate Factory", she 
used the "list of winners being read" to "pull" the actors
out of the actual audience. Thus, the audience is already
drawn in. The "plot/character exposition" is given by the
"list caller" on stage and by each actor (and their "parent")
when they are called out.

And of course, the use of set, costume, makeup, and lighting,
etc. create the suspension of belief as much as anything 
else. Being immersed is of course one of the main reasons
for the audience wanting to attend theatre as well as its
primary aesthetic. Of course, we (in a technological age)
think it so modern to have a telecast as part of a play,
but it can be no different than to have the agent of 
the king to arrive on horseback in "set things right"
in any of the -["Deus ex Machina"]- scenes; eg, "Tartuuf",
"The Three-Penny Opera". After all, how else do you
expect to portray an agent of the King???



  

Stuff