FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2058008066> ?p ?o ?g. }

• W2058008066 endingPage "86" @default.
• W2058008066 startingPage "73" @default.
• W2058008066 abstract "My intention is to make images into theater events, beginning simply with those which have meaning for myself and my collaborators; and at the same time renouncing the theater of critics, box office, real estate, and the conditioned public. —Joseph Chaikin, The Presence of the Actor The Legacy of Devising The increasingly widespread usage in American theatre departments of the enigmatic catch-word devising points to the gradual legitimization within the academy of alternative artistic approaches first developed in the 1960s. Given the intentionally transgressive nature of these approaches, pioneered by groups such as The Open Theatre, The Living Theatre, and the Bread and Puppet Theatre, their integration into the curriculum raises the question of whether they will eventually disrupt canonical conceptions of theatre and thereby affect the future of the discipline. Of course, the transgressive stance of avant-garde theatre, as defined by Philip Auslander in From Acting to Performance, has, to a certain extent, been assimilated by the canon, so that it no longer poses an actual threat to institutions. However, Auslander argues that the transformative nature of performance is still at work in today's devised theatre, albeit in different ways. Indeed, he posits that while the object of the collaborative experiments of the '60s was confrontation with authority through the creation of a counter-culture, a critical shift from modernist transgression to postmodernist resistance has since taken place. Citing the Wooster Group's incorporation of scenes from Arthur Miller's play The Crucible into the textual montage the group created for the production of LSD, Auslander remarks that the ensuing conflict with Miller over the rights was a result, not the object, of the Wooster Group's process (71–2). Auslander suggests that this process entailed simultaneously occupying and resisting the given structure of textual authority [. . .] in traditional theatre (66), thereby contending that what distinguishes this type of appropriation from a confrontational, avant-gardist gesture is precisely its unintentional character (71). Agreeing with artistic director Elizabeth LeCompte that Miller's legal action against the theatre company, which eventually resulted in the closing of the production, was an inevitable outcome of the Wooster Group's working process (71), Auslander foregrounds the potentially utopian dimension of this process by pointing out that its effect is not so much to question Miller's rights over his text as to show what would be possible in the realm of cultural production if those rights were not in force, thus emphasizing the connection between [End Page 73] the cultural and the social/political (72). Unlike the transgressive devised theatre of the '60s, postmodern devised theatre does not claim to position itself outside dominant cultural formations, but seeks to offer strategies of counterhegemonic resistance by exposing processes of cultural control and emphasizing the traces of nonhegemonic discourses within the dominant (61). From such a perspective, the aim of devising is no longer to storm the imposing edifice of the theatrical canon, but to open a window in the wall of the fortress so as to provide a glimpse of what lies beyond it (72). In light of this analysis, I would submit that the concept of devising challenges the very principles that define institutionalized theatre practices, from actor training to production strategies. The danger inherent in devising resides not so much in failing to produce a successful theatre piece—a risk that also pertains to more conventional approaches—but in the expectations that devising generates in those who engage in it. Indeed, the participatory, process-oriented, and nonhierarchical nature of devising calls into question both the pedagogy of theatre education and the criteria by which one evaluates what constitutes good theatre. However, isn't this precisely what makes the notion of devising so irresistibly promising? For devising compels us, in spite of Western culture's obsession with productivity, to pay closer attention to process. Moreover, it defies yet another culturally specific trait—our privileging of discursive reason over embodied knowledge—by inviting Euro-American theatre scholars, practitioners, and..." @default.
• W2058008066 created "2016-06-24" @default.
• W2058008066 creator A5020257985 @default.
• W2058008066 date "2005-01-01" @default.
• W2058008066 modified "2023-10-17" @default.
• W2058008066 title "Devising Utopia, or Asking for the Moon" @default.
• W2058008066 cites W1191237969 @default.
• W2058008066 cites W1519203336 @default.
• W2058008066 cites W1529340578 @default.
• W2058008066 cites W2004076192 @default.
• W2058008066 cites W2034466108 @default.
• W2058008066 cites W2037683503 @default.
• W2058008066 cites W2084445005 @default.
• W2058008066 cites W2314119949 @default.
• W2058008066 cites W2798458912 @default.
• W2058008066 cites W601516838 @default.
• W2058008066 doi "https://doi.org/10.1353/tt.2005.0013" @default.
• W2058008066 hasPublicationYear "2005" @default.
• W2058008066 type Work @default.
• W2058008066 sameAs 2058008066 @default.
• W2058008066 citedByCount "19" @default.
• W2058008066 countsByYear W20580080662012 @default.
• W2058008066 countsByYear W20580080662013 @default.
• W2058008066 countsByYear W20580080662016 @default.
• W2058008066 countsByYear W20580080662018 @default.
• W2058008066 countsByYear W20580080662019 @default.
• W2058008066 countsByYear W20580080662022 @default.
• W2058008066 crossrefType "journal-article" @default.
• W2058008066 hasAuthorship W2058008066A5020257985 @default.
• W2058008066 hasConcept C107038049 @default.
• W2058008066 hasConcept C109007969 @default.
• W2058008066 hasConcept C111472728 @default.
• W2058008066 hasConcept C124952713 @default.
• W2058008066 hasConcept C126753816 @default.
• W2058008066 hasConcept C138885662 @default.
• W2058008066 hasConcept C142362112 @default.
• W2058008066 hasConcept C144024400 @default.
• W2058008066 hasConcept C151730666 @default.
• W2058008066 hasConcept C153349607 @default.
• W2058008066 hasConcept C18903297 @default.
• W2058008066 hasConcept C2777496998 @default.
• W2058008066 hasConcept C2777620812 @default.
• W2058008066 hasConcept C2780876879 @default.
• W2058008066 hasConcept C29595303 @default.
• W2058008066 hasConcept C86803240 @default.
• W2058008066 hasConceptScore W2058008066C107038049 @default.
• W2058008066 hasConceptScore W2058008066C109007969 @default.
• W2058008066 hasConceptScore W2058008066C111472728 @default.
• W2058008066 hasConceptScore W2058008066C124952713 @default.
• W2058008066 hasConceptScore W2058008066C126753816 @default.
• W2058008066 hasConceptScore W2058008066C138885662 @default.
• W2058008066 hasConceptScore W2058008066C142362112 @default.
• W2058008066 hasConceptScore W2058008066C144024400 @default.
• W2058008066 hasConceptScore W2058008066C151730666 @default.
• W2058008066 hasConceptScore W2058008066C153349607 @default.
• W2058008066 hasConceptScore W2058008066C18903297 @default.
• W2058008066 hasConceptScore W2058008066C2777496998 @default.
• W2058008066 hasConceptScore W2058008066C2777620812 @default.
• W2058008066 hasConceptScore W2058008066C2780876879 @default.
• W2058008066 hasConceptScore W2058008066C29595303 @default.
• W2058008066 hasConceptScore W2058008066C86803240 @default.
• W2058008066 hasIssue "1" @default.
• W2058008066 hasLocation W20580080661 @default.
• W2058008066 hasOpenAccess W2058008066 @default.
• W2058008066 hasPrimaryLocation W20580080661 @default.
• W2058008066 hasRelatedWork W2020207607 @default.
• W2058008066 hasRelatedWork W2103262570 @default.
• W2058008066 hasRelatedWork W2347666927 @default.
• W2058008066 hasRelatedWork W2493814074 @default.
• W2058008066 hasRelatedWork W2748952813 @default.
• W2058008066 hasRelatedWork W2768799373 @default.
• W2058008066 hasRelatedWork W2776117398 @default.
• W2058008066 hasRelatedWork W2917158549 @default.
• W2058008066 hasRelatedWork W2971711103 @default.
• W2058008066 hasRelatedWork W4312846392 @default.
• W2058008066 hasVolume "15" @default.
• W2058008066 isParatext "false" @default.
• W2058008066 isRetracted "false" @default.
• W2058008066 magId "2058008066" @default.
• W2058008066 workType "article" @default.