Manual Visuality in the Theatre: The Locus of Looking (Performance Interventions)

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LOG IN. Theatre Journal. In lieu of an abstract, here is a brief excerpt of the content: Books Received. Theatre Journal publishes primarily reviews of scholarly works of theatre criticism, history, and theory. Autobiography and Biography Bigsby, Christopher. Arthur Miller: Efros, Anatoly. James Thomas, trans.

New York: Peter Lang, ; pp. Smith, Geddeth. Walter Hampden: Dean of the American Theatre. Lanham, MD: Scarecrow Press, ; pp. Dietz, Dan. Jefferson, NC: McFarland, ; pp. Hischak, Thomas S. Podewell, Buzz. Suskin, Steven. Oxford: Oxford University Press, ; pp.

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Zarrilli, Phillip B. Gary Jay Williams, ed. Theatre Histories: An Introduction , 2nd ed. While operating as a boundary , the interface also reaches outside , to make the inside readable or accessible.

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Kabul Market and the adjacent shops and houses face the Amsterdamsestraatweg, a street that seems designed to pass through, rather than linger. Amsterdamsestraatweg is an almost endless street. As a starting point for the project, P-S envisioned Amsterdamsestraatweg as a large building with the actual street as an endless corridor at the heart of the building, with doors opening and closing onto this urban hallway, portals to spaces yet unknown. P-S devised a participatory workshop for approximately thirty participants.

Density and porosity were subsequently connected to spatial-material conditions such as permeability, opaqueness, accessibility, passing, and passing through see table 1. Specific density, or type-specific density, identifies matter and materials on the basis of varying amounts of mass-per-volume, separating, for instance, gasses from solid or fluid materials. Type-specific density is not restricted to minerals or liquids. Foods have a specific density too. Following the introduction, the participants went out on the street, in nine groups of approximately four people.

The groups began their research with visual observation and movement analysis. Approximately meters beyond Kabul Market and on the opposite side of the street, there is a shop named Elvis Corner.

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The shop window is stacked with Elvis Presley miniatures, Presley clothing, Presley masks, and other shiny gadgets. Every shop window is a little stage, whether fancy ones such as Apple or Gucci or this one filled with Elvis Presley curiosa. Elvis Corner certainly knows how to manage the attention of passers-by. Not because the window is brilliantly decorated, but because its content differs so decisively from the cell phone shops, assurance companies, launderettes, and other service shops along the Amsterdamsestraatweg. Goods and gadgets are piled next and on top of each other, rendering the window into a stuffed storage room rather than a tempting shop window.

In the course of theater history, such spectacles were closely associated with scenography, since they strongly relied on stage technology, machinery, lightning, sound, and other scenographic devices. For a long time, the spectacle, and vision at large, has dominated cultural discourse, and also had its impact on theater and performance debates. Expanded scenography purposefully shifts the attention from a visual to a relational and performative register. Remarkably, this paradigm shift is known in urban theories as well. In , the Flemish artist Benjamin Verdonck initiated Calendar , a year-long project that consisted of several performative interventions in the city of Antwerp, Belgium.

Other interventions were more ludic, such as staging an accident with a larger-than-human-size bird, creating a buzz on the square. The paper castle about two meters high was a symbolic occupation of the square, a paper house for those without papers. Calendar asks: who is going to cut the ribbon; who is this man walking around crying; who is actually going to take responsibility for the ones without papers?


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Amsterdamsestraatweg is a street characteristic of off-center neighborhoods in large cities. Next to Kabul Market there are massage salons, Asian snack bars, some old pubs, phone shops, an occasional gentrification attempt in the form of a fancy coffee bar or art gallery; a street full of shops but nevertheless not a place to stop.

Bikers, cars, buses: they all seem on their way towards somewhere else. The small glass panel in the door is made of opaque, unbreakable glass. According to Branden Hookway, interfaces are inherently paradoxical: the interface separates two entities by connecting them.


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While operating as a mediating device, the interface simultaneously exposes their difference. They materialize in action, rather than in concrete objects. The materiality of black marble directly appeals to the senses, which is indicative of the close connection between materiality, affectivity, and relationality as key components of urban scenography. Scenography invites a phenomenological approach to urban interfaces. A brief comparison with the related field of performative architecture serves to make this clear, taking a specific look at the relations between bodies and built spaces. For Derrida, architecture does not produce a location for events.

Instead, the event of architecture is in its very taking place. Despite the many references to bodily movement, this body is often oversimplified and therefore remains a symbolic abstraction. She seeks to expose the intimate connections between specific bodies and particular spaces, connected in and through lived space. One of her examples relates to the drawings of architect John Hejduk. In his Masques series, he portrays a series of free-standing structures and objects, accompanied by precise lists of materials, tools, and intriguing descriptions of fictional figures and their moods, memories, and actions.

In Masques , Hejduk deviates from classical architectural drawing, playing with textual descriptions that are always integral to architectural design, but used differently. Is this a house intended for living? Porous Interfaces. From a scenographic perspective, if there is a front, there is also a back stage ; an inside next to an outside. After about an hour, participants were asked to send their notes, drawings and pictures to an e-mail address, and to open an envelope containing a specific address on the Amsterdamsestraatweg.

They were asked to go to this address, ring the bell and wait for things to come. At the Amsterdamsestraatweg, various doors opened after the doorbell rang. The groups were received by inhabitants of the Amsterdamsestraatweg and were invited for lunch. One group was welcomed by an artist-activist couple, others by the tenants of an Asian snack bar or kebab restaurant, others by representatives of an Amsterdamsestraatweg community group.

Experiences varied enormously: some engaged in lively conversations, others reported that the meeting was somewhat awkward, or obstructed by language barriers. Using both digital and analogue spaces, he shows this border zone to be both a prison and a place for reclaiming dual or plural identities.

To pass a threshold, to discover a life behind a door one is usually not inclined or unlikely to enter, actively questions the form of relations, and positions one in the middle of a porous interface. In the final research phase, the participants gathered at the place of departure Het Huis at Boorstraat near the Amsterdamsestraatweg.

Divided into three groups, they exchanged their experiences and observations, while making notes on a paper tablecloth. P-S invited an urban planner as well, who explained how urban planners tend to divide a street into functional zones, allocating areas to walking, shopping, cycling, dividing fast traffic and pedestrian space, and so on. The participants of the P-S workshop, instead, shared observations of small details, based on close observation of quotidian life. Others noticed plants in places where they are not supposed to grow, or reported clashing movement patterns of people exiting a shop versus people rushing by.

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