Intermediality and Spectatorship in the Theatre Work of Robert Lepage: The Solo Shows
Aristita I. Albacan
Sep 2016 · Cambridge Scholars Publishing
Ebook
343
Pages
family_home
Eligible
info
reportRatings and reviews aren’t verified Learn More
About this ebook
Robert Lepage has imposed himself in the past three decades as a Wunderkind of contemporary theatre, with eagerly awaited and widely acclaimed productions at the most prestigious theatre festivals and venues around the world. Soon after his international breakthrough with The Dragon’s Trilogy (1984), Lepage’s work became an object of particular scrutiny for critics and scholars, and continues to be subject to media exposure, inspiring cultural critique, academic study and the admiration of audiences across the world. A recurrent fascination with the formal novelty of his theatrical approach imbues most, if not all, critical considerations. However, in spite of the wide interest provoked, little space has been devoted to the quintessential impact of his work on spectatorship, and, most importantly, to connecting the dots between his creative practice and its substantial impact on audiences. Intermediality and Spectatorship in the Theatre Work of Robert Lepage bridges this gap by exploring the notion that intermediality – observed both as a mise-en-scene strategy and a perceptual effect in performance – is situated at the core of the director’s approach. This approach is situated in direct relation to the evolving expectations and medial competencies of spectators, demonstrating an in-depth understanding of the ways in which different media can be engaged in the creative process in a holistic way in order to alter the regime of spectatorship, to enhance its creative and cognitive potential.
Lepage’s work and theatre making process are analysed here from an interdisciplinary perspective that combines theatre, media and cultural studies, and which is applied to his solo shows, namely Vinci (1986), Needles and Opium (1991), Elsinore (1995), Far Side of the Moon (2000) and Project Andersen (2005). In bringing to the forefront interconnecting notions of intermediality and contemporary spectatorship, the book highlights the director’s preoccupation with an ongoing dialogue with audiences across the world, and their particular involvement in the development of one of the most innovative practices of the Western theatre landscape.
About the author
Aristita I. Albacan is an independent theatre scholar/artist. She specialized in Theatre Directing at Babes-Bolyai University of Cluj-Napoca, Romania, and received a PhD in Theatre and Media Studies from Ludwig Maximilian University, Germany. She worked as an Associate Lecturer at the Johannes Guttenberg University, Germany between 2003 and 2005, and then lectured in Theatre and Performance at the University of Hull, UK, between 2006 and 2015. During her affiliation with the University of Hull, she functioned as a Director of Studies for Theatre and Performance, and initiated and co-coordinated the Interdisciplinary and Collaborative Practices Research Cluster (2010–2013). Her research interests are connected to intermediality, contemporary spectatorship, participatory performance-making processes, and applied theatre, on which she has published several articles. As a theatre practitioner, she has developed contemporary performances in various settings in Romania, Germany, the United States and the UK over the past 20 years.
Rate this ebook
Tell us what you think.
Reading information
Smartphones and tablets
Install the Google Play Books app for Android and iPad/iPhone. It syncs automatically with your account and allows you to read online or offline wherever you are.
Laptops and computers
You can listen to audiobooks purchased on Google Play using your computer's web browser.
eReaders and other devices
To read on e-ink devices like Kobo eReaders, you'll need to download a file and transfer it to your device. Follow the detailed Help Center instructions to transfer the files to supported eReaders.
