Re-co(r)ding the Scene of the Crime. Processing the Ontology of Dissapearance



Year of publication 2017
Type Chapter of a book
MU Faculty or unit

Faculty of Arts

Description Current debates on media-performance relationship challenge an ability of documentary materials, like photographs, video, film, props, scores, scripts or reviews, to provide a true and an authentic evidence of live events and thus to contribute to our knowledge of historical live arts in general. Another quite recent tendency in media-performance discourse has been led by the belief in an ability of re-enactments of historical performances to overcome limits of inevitably mediated (second-hand) quality of our experience of the historical live arts. The paper 1) contributes to the discourse by a critical overview of certain strategies of transparent mediation of live performance historiography. And 2) it is a report on the experiment on theatre performance’s live-reco(r)ding and real-time transformation. The purpose of the experiment was to challenge the traditional time-based historiography (with its categories of past-present-future) by space-based digital historiography (with its categories of real-time processing, and endless interpretations).
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