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Title: The politics of perception in post-cinematic theatre : an exploration of the interinvolvement of theatre and film in contemporary performance and cinema
Author: Woycicki, Piotr
Awarding Body: Lancaster University
Current Institution: Lancaster University
Date of Award: 2010
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This thesis explores how post-cinematic theatre and film, a subgroup of intermedial artistic practice, can be seen to deconstruct cinematic conventions and the expectations associated with them, offering a broader spectrum of perceptual choices for the spectator. By means of post-structuralist analysis I argue that, through an 'lnterinvolvement' of theatre and film, these pieces investigate the perceptual habits of cinematic experiences and foreground what Hans-Thies Lehmann calls a 'politics of perception'. This foregrounding of the 'politics of perception' is not concerned with an exposition of political content or "messages" but rather with stimulating an awareness of the political and ideological factors underpinning the spectator's perceptual choices. In chapter It I draw on Jean-Francois Lyotard's thoughts on Acinematic montage to explore the deconstruction of cinematic aesthetic pleasures and the jouissance of perception in Station House Opera's A Mare's Nest and Roadmetal Sweetbread and The Wooster Group's House/Lights. In Chapter III the focus of my analysis shifts towards considerations of the ethico-political factors of perception, where I engage with Emmanuel Levinas' work on ethics to explore the deconstruction of cinematic perception in Katie Mitchell's Wunschkonzert. In Chapter IV, I look at the disorientation of cinematic perception in Imitating the Dog's Hotel Methuselah by using of Lyotard's concept of the 'disorienting landscape' and the political implications concerning totalising perspectives. Finally in Chapter V, I look at the moral implications of perceptual choices in lars van Triers Dogville through Jacques Derrida's concept of aporias. The case studies represent a spectrum of dynamics in the combined use of theatre and film, ranging from heavily theatrical examples such as The Wooster Group's House/Lights to van Trier's Dogville which is essentially a film with a theatrical set. Throughout I argue that the immediate and/or retrospective experience of the interinvolvement of theatre and film is instrumental in foregrounding the politics of perception and thus the significance of intermediality within these pieces.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available