Off Sites
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A01=Bertie Ferdman
Analyze
Analyzing
Author_Bertie Ferdman
Category1=Non-Fiction
Category=ATC
Category=ATD
Category=NL-AN
COP=United States
Cross-disciplinary
Disciplinary
Discount=15
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=0
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Experimental staging
Format=BC
Format_Paperback
HMM=229
IMPN=Southern Illinois University Press
Innovative approach
Interpreting
ISBN13=9780809334704
Language_English
PA=Available
PD=20180730
POP=Carbondale
Price_€50 to €100
PS=Active
PUB=Southern Illinois University Press
Rethinking terminology
SMM=16
Spectator
Subject=Theatre Studies
Temporal
United States performances
Urban
Visual arts
WMM=152
Product details
- ISBN 9780809334704
- Format: Paperback
- Weight: 355g
- Dimensions: 152 x 229 x 16mm
- Publication Date: 30 Jul 2018
- Publisher: Southern Illinois University Press
- Publication City/Country: Carbondale, US
- Product Form: Paperback
- Language: English
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Off Sites: Contemporary Performance beyond Site-Specific rethinks current definitions of “site-specific performance”—a genre of theatre that adopts spaces outside of traditional theatre buildings and uses the experience of space, place, and situation as an integral component to the structure and content of a theatrical work.
This book looks at key productions of artists working in this genre, including Private Moment by David Levine and Geyser Land, conceived and directed by video artist Mary Ellen Strom and choreographer Ann Carlson.
This incredibly rich and vital part of theatre in the past several decades has become diverse enough that the term “site-specific” has ceased to adequately describe it. Contextualizing site-specific practices in both visual and performing arts discourses, author Bertie Ferdman traces the evolution of that term from an experimental staging practice to an engaged situational event. Substituting the term “off-site,” she illustrates the ways in which a new generation of artists have challenged the disciplinary frameworks of site-specific theatre.
She focuses on five distinct ways in which these artists do that: 1) blurring the traditional boundaries between the fictional and the real; 2) changing how the audience and actor interact with each other and whether they are physically together or apart; 3) fabricating sites from physically bound, conceptually constructed, or virtual spaces; 4) establishing live situations in real vs. fiction; and 5) challenging our preconceived notions of time and space.
The first chapter outlines the book’s primary goals, traces the genealogy of site-based work through the twentieth and twenty-first centuries, and presents the theoretical groundwork for the book. Each subsequent chapter focuses on a particular type of “off-site”: Disciplinary Sites, Spectator Sites, Temporal Sites, Urban Sites, and contains several case studies.
Main questions asked by this study include: How are artists and performances engaging with site? What sites do contemporary theatre practices engender? How does live performance negotiate such sites?
This book looks at key productions of artists working in this genre, including Private Moment by David Levine and Geyser Land, conceived and directed by video artist Mary Ellen Strom and choreographer Ann Carlson.
This incredibly rich and vital part of theatre in the past several decades has become diverse enough that the term “site-specific” has ceased to adequately describe it. Contextualizing site-specific practices in both visual and performing arts discourses, author Bertie Ferdman traces the evolution of that term from an experimental staging practice to an engaged situational event. Substituting the term “off-site,” she illustrates the ways in which a new generation of artists have challenged the disciplinary frameworks of site-specific theatre.
She focuses on five distinct ways in which these artists do that: 1) blurring the traditional boundaries between the fictional and the real; 2) changing how the audience and actor interact with each other and whether they are physically together or apart; 3) fabricating sites from physically bound, conceptually constructed, or virtual spaces; 4) establishing live situations in real vs. fiction; and 5) challenging our preconceived notions of time and space.
The first chapter outlines the book’s primary goals, traces the genealogy of site-based work through the twentieth and twenty-first centuries, and presents the theoretical groundwork for the book. Each subsequent chapter focuses on a particular type of “off-site”: Disciplinary Sites, Spectator Sites, Temporal Sites, Urban Sites, and contains several case studies.
Main questions asked by this study include: How are artists and performances engaging with site? What sites do contemporary theatre practices engender? How does live performance negotiate such sites?
Bertie Ferdman is Associate Professor at Borough Manhattan Community College at the City University of New York. Her essays have appeared in TDR, Theater, PAJ, Theatre Journal, Theatre Survey, Performance Research, and HowlRound. She is co-editor of Bloomsbury’s Companion to Performance Art, forthcoming in 2019. She is also co-editor of a Special Issue on Performance Curators for Theater and guest editor of a special section titled “Urban Dramaturgies” for PAJ.
