Theatre/Archaeology: Disciplinary Dialogues
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Review
"An extremely influential book.."
-Julian Thomas, Univesity of Manchester
"Fascinating and ground-breaking.."
-Elin Diamond, Rutgers University
"Together they have a written a wonderfully evocative book, tracing the evolving dialogue between them as they explored what each discipline had to offer the other, leading eventually to the elaboration of the common project they call 'theatre/archaeology'. The book is a fascinating intermingling of different narratives (artistic, intellectual, autobiographical) and discourses (scholarly, polemical, visionary), and it begins at the end, which is of course a new beginning, with the outline of the academic programs that have emerged from their interdisciplinary collaboration."
."
-Gay McAuley, University of Sydney
"The authors provide brilliant insights into the practice of site-specific performance, and their book makes a major contribution to the discipline of performance studies through its elaboration of concepts such as the deep map, the sensorium, second-order performance as a mode of performance documentation, and more generally, in the seriousness with which it addresses the task of documenting performance. "A brilliant and imaginative cross-disciplinary collaboration, Pearson and Shanks have provided analytical concepts and an intellectual framework that can be applied to many different performance genres."
."
-Gay McAuley, University of Sydney
-Julian Thomas, Univesity of Manchester
"Fascinating and ground-breaking.."
-Elin Diamond, Rutgers University
"Together they have a written a wonderfully evocative book, tracing the evolving dialogue between them as they explored what each discipline had to offer the other, leading eventually to the elaboration of the common project they call 'theatre/archaeology'. The book is a fascinating intermingling of different narratives (artistic, intellectual, autobiographical) and discourses (scholarly, polemical, visionary), and it begins at the end, which is of course a new beginning, with the outline of the academic programs that have emerged from their interdisciplinary collaboration."
."
-Gay McAuley, University of Sydney
"The authors provide brilliant insights into the practice of site-specific performance, and their book makes a major contribution to the discipline of performance studies through its elaboration of concepts such as the deep map, the sensorium, second-order performance as a mode of performance documentation, and more generally, in the seriousness with which it addresses the task of documenting performance. "A brilliant and imaginative cross-disciplinary collaboration, Pearson and Shanks have provided analytical concepts and an intellectual framework that can be applied to many different performance genres."
."
-Gay McAuley, University of Sydney
Product Description
Theatre/Archaeology is a provocative challenge to disciplinary practice and intellectual boundaries. It brings together radical proposals in both archaeological and performance theory to generate a startlingly original and intriguing methodological framework.
Inside This Book
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First Sentence
In the first phase of encounter, what we term 'theatre archaeology', archaeology proves stimulating and suggestive of alternative approaches to both performance documentation and theory, encouraging inscriptions of performance, and their interpretation, which might be fragmentary, partial, subjective, discursive. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
In the first phase of encounter, what we term 'theatre archaeology', archaeology proves stimulating and suggestive of alternative approaches to both performance documentation and theory, encouraging inscriptions of performance, and their interpretation, which might be fragmentary, partial, subjective, discursive. Read the first page
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Concordance
Browse Sample PagesConcordance
Front Cover | Copyright | Table of Contents | Excerpt | Index
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4 of 6 people found the following review helpful
Format:Paperback
This books offers little in the way of theoretical insight, but much in the way of practical suggestions, both for working with previously constructed/compiled theatrical artefacts and for creating robust documentations of contemporary performances. The authors make reference to trendy theorists such as Delueze and Judith Butler, but work with them only in the most superficial way--they provide no interesting insight or new readings of their theories. I would recommend this book most for performance artists and scholars interesting in devising new and better ways to allow theater projects a life of their own long after the performance is "over."
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