Mapping Intermediality in Performance
Sarah Bay-Cheng2011
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Abstract
thank Jeroen Sondervan, the series editor, for commissioning this volume and Chantal Nicolaes and the production team at AUP for realising the publication so efficiently. We also thank Emmy Kattenbelt for her work on constructing the index and Miguel Escobar for designing the diagrams of the nodes. Last but not least we thank the contributors for their willingness to engage in many dialogues and to adjust their writings to the purposes of the book in what, for us, has been a gratifying, because genuinely interactive, process.
Key takeaways
- This volume comprises contributions from members of the Intermediality in Theatre and Performance research group of the International Federation for Theatre Research (IFTR), and its genesis lies in the collaborative work of that group over a number of years.
- If, however, we wish to define theatre within the domain of the arts or at least within the domain of the aesthetic (as I propose), we may consider a theatre or theatrical performance as a performative situation perceived and experienced from an aesthetic orientation.
- Thus intermedial theatre practices are even more likely to trouble established modes of perception than postdramatic theatre understood more broadly.
- Similarly, Foreman has constructed an intermedial theatre in which the live performance necessitates the (tele)presence of the virtual performers.
- Connections between audience and performer in networked theatre can be remote and close at the same time, due to a layering of different media (telephone/ video/theatre).
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Perception and Presence: Analyzing Intermediality in Performance
debates about media technology and practices. International scholars critically analyze and theorize the materiality and performativity, as well as spatial practices of screen media in contributions that engage with today's digital media culture. For more information about the series, please visit: www.aup.nl thank Jeroen Sondervan, the series editor, for commissioning this volume and Chantal Nicolaes and the production team at AUP for realising the publication so efficiently. We also thank Emmy Kattenbelt for her work on constructing the index and Miguel Escobar for designing the diagrams of the nodes. Last but not least we thank the contributors for their willingness to engage in many dialogues and to adjust their writings to the purposes of the book in what, for us, has been a gratifying, because genuinely interactive, process. Cover illustration: Participant in an immersive performance by CREW, © Eric joris Cover design: Suzan de Beijer, Weesp Lay out: JAPES, Amsterdam ISBN 978 90 8964 255 4 e-ISBN 978 90 4851 314 7 NUR 670
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