Abstract
In writing and researching this book, I am aware of shifting critical discourses within an interdisciplinary landscape, which is the performance context of the twenty-first century. On my journey of researching, exploring and spectating such a landscape, I am drawn to the changing directions of the frames of performance, which include the urban landscape, the city, the building — church, Coliseum or car park — as well as the art gallery room with the video or sculptural installation. The shift is that I am inside the frame, experiencing the duality of the imagery of the art-work’s being and the environment of everyday life. Every frame I inhabit has its own architectural, spatial connotation. It is this shift, which has provoked my choice of artists for this book.
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Notes
R. Goldberg, Performance Art from Futurism to the Present (London: Thames & Hudson, 2001).
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S. Craddock, ‘Force Field: The Work of Heather Ackroyd and Daniel Harvey’, N. Childs and J. Walwin (eds), A Split Second of Paradise (London and New York: Rivers Oram Press, 1998), p. 94.
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L. Irigaray, Key Writings (New York: Continuum, 2004), p. x.
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© 2007 Alison Oddey
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Oddey, A. (2007). Re-Framing. In: Re-Framing the Theatrical. Palgrave Macmillan, London. https://doi.org/10.1057/9780230590724_1
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DOI: https://doi.org/10.1057/9780230590724_1
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-35708-6
Online ISBN: 978-0-230-59072-4
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