Experiencing Liveness in Contemporary Performance: Interdisciplinary Perspectives
Edited by Matthew Reason and Anja Mølle Lindelof
Published by Routledge
You can buy the book here.
This volume brings together dynamic perspectives on the concept of liveness in the performing arts, engaging with the live through the particular analytical focus of audiences and experience. The status and significance of the live in performance has become contested: perceived as variously as a marker of ontological difference, a promotional slogan, or a mystical evocation of cultural value. Moving beyond debates about the relationship between the live and the mediated, this collection considers what we can know and say about liveness in terms of processes of experiencing and processes of making. Drawing together contributions from theatre, music, dance, and performance art, it takes an interdisciplinary approach in asking not what liveness is, but how it matters and to whom.
Full Contents list:
Part 1: Audiencing
Chapters
1. Coming (a)live: A Prolegomenon to any Future Research on ‘Liveness’
Martin Barker
2. Orange Dogs and Memory Responses: Creativity in Spectating and Remembering
Katja Hilevaara
3. Fandom, Liveness and Technology at Tori Amos Music Concerts: Examining the Movement of Meaning within Social Media Use
Lucy Bennett
4. Social and Online Experiences: Shaping Live Listening Expectation in Classical Music
Stephanie E. Pitts
5. The Meaning of Lived Experience
Paddy Scannell
6. Affect and Experience
Matthew Reason
Shorts
1. Live Art, Death Threats: The Theatrical Antagonism of First Night
Alexis Soloski
2. Attention as a Tension: Affective Experience between Performer and Audience in the Live Encounter
Victoria Gray
3. Empathy and Resonant Relationships in Performance Art
Lynn Lu
4. Embodied Traces: Co-presence, Kinaesthesia and Bodily Inscription
Imogene Newland
5. An Experience of Becoming: Wearing a Tail and Alpine Walking
Catherine Bagnall
6. Sisters Academy: Radical Live Intervention into the Educational System
Gry Worre Halberg
7. One-to-One Performance: Who’s in Charge?
Sarah Hogarth and Emma Bramley
8. A Performatic Archive
Kerrie Reading
9. Theatre of Bone
Rebecca Schneider
Part 2: Materialising
Chapters
1. What is a Live Event?
Gary Peters
2. Improvising Music Experience: The Eternal Ex-temporisation of Music Made Live
Steve Tromans
3. The Place of Performance: A Critical Historiography on the Topos of Time
Jonah Westerman
4. Objectifying Liveness: Labour, Agency and the Body in the 11 Rooms Exhibition
Lisa Newman
5. Reconsidering Liveness in the Age of Digital Implication
Eirini Nedelkopoulou
6. Environmental Performance: Framing Time
Anja Mølle Lindelof, Ulrik Schmidt and Connie Svabo
Shorts
1. Three Performances: A Virtual (Musical) Improvisation
Mathias Maschat and Christopher Williams
2. Chronography
Craig Dworkin
3. Memory, Time and Self: A Text Work based on a Conceptual Performance
Paul Forte
4. Broken Magic: The Liveness of Loudspeakers
Dugal McKinnon
5. Managing Live Audience Attention in the Age of Digital Mediation:The Good, The God and The Guillotine:
Martin Blain
6. Enlivened Serendipity
Allen S. Weiss
7. National Theatre Wales’s Coriolan/us: A ‘Live Film’
Mike Pearson
8. Machines in Queer Gardens: Performance as Mixed Surreality
Judd Morrissey and Mark Jeffery
Afterword
So Close and Yet So Far Away: The Proxemics of Liveness
Philip Auslander