Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553084
Title: Forms of intermediality in theatre
Author: Brozic, Ivana
Awarding Body: University of Reading
Current Institution: University of Reading
Date of Award: 2009
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Abstract:
The aim of the thesis is to argue for inherent intermediality of the theatre medium and explore some of its interactions with other media. The argument is positioned alongside the existing approaches to intermediality, in theatre as well as in other fields of study, most of which tend to focus on exploring the effects of the presence of new media technologies in the contemporary culture. Whilst considering a number of existing approaches to intermediality and their bearing on the phenomenon of theatre, this thesis emphasises a necessity to re-examine the received notions of the concepts involved in such a discussion - the concepts of 'medium', 'theatre' and 'inter' - and thus proposes a more inclusive view of theatre and the theatrical than is suggested by placing 'theatre' in opposition to 'media'. Insights from fields of study other than theatre are employed in order to provide a comprehensive in-depth discussion of the possibilities of the theatre medium for developing inter- and cross- media dialogues. These insights also frame the central questions that guide the discussion of intermediality in theatre, including: 'is intermediality always present in theatre performance?'; 'what is the role of new technologies in experiencing intermediality in theatre?'; 'can intermediality be seen as a form of intertextuality?' and 'is intermediality created in production or in reception?'. Forms of intermediality are explored across a number of plays and performances including Sheila Yeger' s Self Portrait and Variations on a Theme by Clara Schumann, Marguerite Duras's Eden Cinema, Katie Mitchell's Waves, Complicite's The Noise of Time, Frank McGuinness's Innocence The Life and Death of Caravaggio and Trestle Theatre's Tonight We Fly The Story of Marc Chagall. The specific concerns these fictional biographical and autobiographical texts address - the concerns with the representation of a (non-essentialist) subjectivity - provide a highly relevant body of examples across which intermediality (or intermedialities) in theatre can be observed.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.553084  DOI: Not available
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