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- W2489332814 abstract "This chapter explores a range of work whose practices draw upon the current vogue for what has been defined variously in the context of art and performance as ‘collaborative’, ‘interactive’, ‘immersive’ and ‘participatory.’ Although it might be argued that all applied theatre is participatory (and this is identified in Part I as a principle of applying performance), the focus on the participant’s experience through the form of the work brings it into dialogue with Machon’s ‘(syn)aesthetics’, a ‘ redefining’ of ‘visceral performance’ (Machon, 2009). This body of work, Machon explains, is ‘impossible to define as a genre, due to the fluidity of forms explored’ but its style ‘places emphasis on the human body’ as well as the verbal as a ‘visceral’ act; it is ‘sensate’ and often ‘transgressive’ as ‘its very form can produce a response in the individual audience member that goes beyond the discourse of critical analysis’ its inarticulacy being ‘due to the fact that the act of immediate perception is primarily located in the body’ (2009: 2). This ‘(syn)aesthetic style she associates with productions such as Theatre de Complicite’s Street of Crocodiles (1992), De la Guarda’s form of ‘shock’ theatre in pieces such as Villa! Villa! (1998), Pina Bausch’s Bluebeard (1984) and DV8’s Dead Dreams of Monochrome Men (1990), as well as play texts such as Churchill’s The Skriker (1994), Beckett’s Not I (1972) and the corporeal writing of Sarah Kane. Machon identifies three ‘performance strategies’ as key features of the (syn)aesthetic performance style: the ‘(syn)aesthetic hybrid’, which she defines in relation to Richard Wagner’s gesaamtkunstwerk (or ‘total artwork’); a ‘pre dominance of the actual body as text in performance’; and an experimentation with ‘writerly speech to establish a visceralverbal playtext’ (4). Here, her emphasis is on the Kantian, ludic nature of play (discussed in Part I), in conjunction with a Steinian linguistic jouissance where sound and syntax create a nonsensical visceral form of orality. These three elements, however, are present in different combinations and emphases in (syn)aesthetic performance which may not always incorporate all three." @default.
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- W2489332814 date "2012-01-01" @default.
- W2489332814 modified "2023-09-24" @default.
- W2489332814 title "Participatory (Syn)Aesthetics" @default.
- W2489332814 doi "https://doi.org/10.1057/9781137033642_6" @default.
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