Visualising lost theatres : virtual praxis and the recovery of performance spaces /

"Visualising Lost Theatres argues that once a theatre is demolished, its theatrical, social, and cultural worlds are also at risk. Yet venues are living systems, not than passive containers of performance. A visualisation-or virtual reconstruction-can provide the visual and immersive feel of a...

Πλήρης περιγραφή

Λεπτομέρειες βιβλιογραφικής εγγραφής
Κύριος συγγραφέας: Tompkins, Joanne, 1961- (συγγραφέας)
Άλλοι συγγραφείς: Holledge, Julie, 1950- (συγγραφέας), Bollen, Jonathan (συγγραφέας), Xia, Liyang (συγγραφέας)
Μορφή: Βιβλίο
Γλώσσα:English
Έκδοση: Cambridge ; cambridge University Press, 2022.
Σειρά:Cambridge studies in modern theatre
Θέματα:
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245 1 0 |a Visualising lost theatres :  |b virtual praxis and the recovery of performance spaces /  |c Joanne Tompkins, Julie Holledge, Jonathan Bollen, Liyang Xia. 
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505 0 |a The Rose Theatre and stage movement in Marlowe's Doctor Faustus -- Komediehuset and Henrik Ibsen's in his First Theatre -- A colonial audience watching Othello at the Queen's Theatre -- Cantonese opera and the layering of space on the Australian goldfields -- The design of attraction at the Stardust Showroom in Las Vegas -- Visualizing the future of theatre research. 
520 |a "Visualising Lost Theatres argues that once a theatre is demolished, its theatrical, social, and cultural worlds are also at risk. Yet venues are living systems, not than passive containers of performance. A visualisation-or virtual reconstruction-can provide the visual and immersive feel of a venue, revealing performance logistics for actors and audience. We examine virtual models of the Rose Theatre in 1590s London where Christopher Marlowe's plays were performed; Komediehuset in Bergen, Norway, where Henrik Ibsen learned how to be a playwright in the 1850s; the Queen's Theatre, built in 1841, which represents an empire-building movement in Adelaide, South Australia; Cantonese opera touring in circus tents in Australia's goldfields from the 1850s; and the Stardust showroom in 1950s Las Vegas which shaped commercial theatre for a tourist audience. Each reveals new knowledge about the venues themselves, theatrical form, and performer-audience relationships. The book overall offers a methodology for this new technology in theatre studies: it illustrates how the virtual models can, in conjunction with performers and designers, be performance laboratories to test out the written archive"-- 
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