Teatervitenskap etter vendingen mot deltagelse – disiplinære skillelinjer for fall?
DOI:
https://doi.org/10.7146/peri.v16iS8.117587Nøgleord:
audience, participation, boundary work, theatre as event, performativityResumé
Publikumsdeltagelse gjør at skillet mellom teater og sosial hendelse viskes ut, noe som utfordrer teaterbegrepet som baserer seg på relasjonen mellom sal og scene. Med utgangspunkt i Erika Fischer-Lichte og Willmar Sauters performative og «event-orienterte» teaterbegrep ser denne artikkelen på hvordan fenomenet publikumsdeltagelse påvirker kunst- og teaterdiskursen i lys av vitenskapsteoretikeren Thomas F. Gieryns begrep «boundary-work».
Audience participation erases the boundary between theatre and social event and this challenges a concept of theatre based on the relationship between audience and performer. With Erika Fischer-Licthe and Willmar Sauters performative and «event oriented» theatre concepts as starting points, this article uses Thomas F. Gieryn’s concept “boundary work” to look at how the phenomena audience participation influences the art and theatre discourse.
Referencer
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Bishop, C. 2012. Artificial hells : participatory art and the politics of spectatorship, London, Verso.
Bonet, L. & Négrier, E. 2018. Breaking the Fourth Wall: Proactive Audiences in the Performing Arts. Lillehammer: Kunnskapsverket.
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Fischer-Lichte, E. 1999. From Text to Performance: The Rise of Theatre Studies as an Academic Discipline in Germany. Theatre Research International, 24, 168–178.
Fischer-Lichte, E. 2008. The transformative power of performance : a new aesthetics. New York: Routledge.
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Fried, M. 1967/2003. «Art and objecthood». Performance; Vol. 4, 75, 165-187.
Gieryn, T. F. 1983. «Boundary-Work and the Demarcation of Science from Non-Science: Strains and Interests in Professional Ideologies of Scientists»”. American Sociological Review, 48, 781–795.
Gieryn, T. F. 1999. Cultural boundaries of science: credibility on the line, Chicago, University of Chicago Press.
Gran, A.-B. 1993. «Et spørsmål om teatralitet? - og en historie om teatervitenskapens historie». I Hov, L. (red.) Teatervitenskapelige grunnlagsproblemer. Oslo: Universitetet i Oslo, Institutt for musikk og teater, Avdeling for teatervitenskap.
Harvie, J. 2013. Fair play: art, performance and neoliberalism, Basingstoke, Palgrave Macmillan.
Jackson, S. 2011. Social works: performing art, supporting publics, Abingdon, Routledge.
Jenkins, H. 2014. “Rethinking «Rethinking Convergence/Culture”. Cultural Studies, 28, 267–297.
Martin, J. & Sauter, W. 1995. Understanding theatre: performance analysis in theory and practice, Stockholm, Almqvist & Wiksell International.
Nicholson, H. 2015. Applied Drama: The Gift of Theatre, Macmillan Education UK.
Nicholson, H. 2017. «Affective Labours of Cultural Participation». I Harpin, A og Nicholson, H. Performance and Participation, London, Palgrave Macmillan.
Rancière, J. 2009 The Emancipated spectator, London, Verso Books.
Rasmussen, B. 2014. «Feltet barn og teater: innspill til feltforståelse og historieskriving». I Scenekunsten og de unge, Oslo: Norsk scenekunstbruk AS: Vidarforlaget.
Sauter, W. 2000, The theatrical event: dynamics of performance and perception, Iowa City, University of Iowa Press.
Sauter, W. 2004, «Introducing the Theatrical Event». I Cremona, V. A. & Eversmann, P., H. Van Maanen, H., Sauter, W. og Tullock, J. (red.) Theatrical events : borders, dynamics, frames, Amsterdam, Rodopi.
Skjoldager-Nielsen, K. 2018 Over the Threshold, Into the World: Experiences of Transcendence in the Context of Staged Events, Stockholm University, STUTS – Stiftelsen för utgivning av teatervetenskapliga studier, Stockholm.
Thompson, J. 2009. Performance affects: applied theatre and the end of effect, Basingstoke, Palgrave Macmillan.
Turner, V. W. 1988. The Anthropology of Performance, PAJ Publications.
White, G. 2013. Audience Participation in Theatre. Aesthetics of the Invitation, Basingstoke, Palgrave Macmillan.
Bishop, C. 2012. Artificial hells : participatory art and the politics of spectatorship, London, Verso.
Bonet, L. & Négrier, E. 2018. Breaking the Fourth Wall: Proactive Audiences in the Performing Arts. Lillehammer: Kunnskapsverket.
Bourdieu, P. 2000. Konstens regler : det litterära fältets uppkomst och struktur, Stockholm, Symposion.
Bourriaud, N. 2007. Relasjonell estetikk, oversettelse Boel Christensen-Scheel, Oslo, Pax
Breel, A. 2015. “Audience agency in participatory performance: A methodology for examining aesthetic experience”. Participations. Journal of Audiece and Reception studies, Vol. 12, Issue 1 (May 2015). http://www.participations.org/Volume%2012/Issue%201/23.pdf Last accessed, 26.03.2019
Carlson, M. 2008. «Introduction. Perspectives on performance: Germany and America» i Fischer-Lichte, E. 2008. The transformative power of performance: a new aesthetics. New York: Routledge.
Fischer-Lichte, E. 1999. From Text to Performance: The Rise of Theatre Studies as an Academic Discipline in Germany. Theatre Research International, 24, 168–178.
Fischer-Lichte, E. 2008. The transformative power of performance : a new aesthetics. New York: Routledge.
Foucault, M. 1999. Diskursens orden: tiltredelsesforelesning holdt ved Collège de France 2. desember 1970, Oslo, Spartacus.
Freshwater, H. 2009. Theatre & audience, Basingstoke, Palgrave Macmillan.
Fried, M. 1967/2003. «Art and objecthood». Performance; Vol. 4, 75, 165-187.
Gieryn, T. F. 1983. «Boundary-Work and the Demarcation of Science from Non-Science: Strains and Interests in Professional Ideologies of Scientists»”. American Sociological Review, 48, 781–795.
Gieryn, T. F. 1999. Cultural boundaries of science: credibility on the line, Chicago, University of Chicago Press.
Gran, A.-B. 1993. «Et spørsmål om teatralitet? - og en historie om teatervitenskapens historie». I Hov, L. (red.) Teatervitenskapelige grunnlagsproblemer. Oslo: Universitetet i Oslo, Institutt for musikk og teater, Avdeling for teatervitenskap.
Harvie, J. 2013. Fair play: art, performance and neoliberalism, Basingstoke, Palgrave Macmillan.
Jackson, S. 2011. Social works: performing art, supporting publics, Abingdon, Routledge.
Jenkins, H. 2014. “Rethinking «Rethinking Convergence/Culture”. Cultural Studies, 28, 267–297.
Martin, J. & Sauter, W. 1995. Understanding theatre: performance analysis in theory and practice, Stockholm, Almqvist & Wiksell International.
Nicholson, H. 2015. Applied Drama: The Gift of Theatre, Macmillan Education UK.
Nicholson, H. 2017. «Affective Labours of Cultural Participation». I Harpin, A og Nicholson, H. Performance and Participation, London, Palgrave Macmillan.
Rancière, J. 2009 The Emancipated spectator, London, Verso Books.
Rasmussen, B. 2014. «Feltet barn og teater: innspill til feltforståelse og historieskriving». I Scenekunsten og de unge, Oslo: Norsk scenekunstbruk AS: Vidarforlaget.
Sauter, W. 2000, The theatrical event: dynamics of performance and perception, Iowa City, University of Iowa Press.
Sauter, W. 2004, «Introducing the Theatrical Event». I Cremona, V. A. & Eversmann, P., H. Van Maanen, H., Sauter, W. og Tullock, J. (red.) Theatrical events : borders, dynamics, frames, Amsterdam, Rodopi.
Skjoldager-Nielsen, K. 2018 Over the Threshold, Into the World: Experiences of Transcendence in the Context of Staged Events, Stockholm University, STUTS – Stiftelsen för utgivning av teatervetenskapliga studier, Stockholm.
Thompson, J. 2009. Performance affects: applied theatre and the end of effect, Basingstoke, Palgrave Macmillan.
Turner, V. W. 1988. The Anthropology of Performance, PAJ Publications.
White, G. 2013. Audience Participation in Theatre. Aesthetics of the Invitation, Basingstoke, Palgrave Macmillan.
Publiceret
2019-12-02
Citation/Eksport
Berg, I. T. (2019). Teatervitenskap etter vendingen mot deltagelse – disiplinære skillelinjer for fall?. Peripeti, 16(S8), 10–23. https://doi.org/10.7146/peri.v16iS8.117587
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