Notice bibliographique
Résumé
Vertical City (VC), of which I am the Artistic Director, is an interdisciplinary performance hub located in Toronto, Canada. Our use of the term hub-as opposed to company or collective-is intended to evoke creative and administrative core around which diverse and mutable combination of artistic perspectives and disciplines may orbit. YouTopia (2013) reflects VC's signature use of such postdramatic elements as aerial movement, engineered installation environments, sensory immersion, interactive intermediality, and dense live/recorded soundscapes. At the same time, our productions regularly incorporate core dramatic components of traditional theatrical performance, such as progressive narrative structures and distinct characterisation. However, we attempt to systematically relocate these familiar conventions into overtly performative contexts through pronounced interdisciplinary negotiation and the transformation of audience perception via intermedial modification. As such, although VC performances are often intensely physical, endurance-based, and executed within demanding, occasionally treacherous material environments, this essay will focus on less obvious yet central element of risk within our work. Put most directly, VC attempts to create in contexts that aim-conspicuously, intentionally, and, in our assessment, productively-to overwhelm conventional theatrical constructs and contracts. What is primarily gambled upon in VC production, then, is sincerity : generous, vulnerable concession of the fragility of theatrical intimacy amidst the aggressive, performative excess that reflects contemporary social experience.1. FOUNDATIONSThe first configuration of VC, dating from autumn 2007, included two aerialists, two physical performers, musician, director/writer, and dramaturg. Among the most recent roster-that which mounted YouTopia in 2013-only the writer/director (myself) and the dramaturg (Pil Hansen) were involved in the earliest work. Added to the ranks, however, were an electronic music composer/ performer (Richard Windeyer), lighting/projections designer (Laird MacDonald), an interactive media author/technician (Jim Ruxton), visual/installation artist (Sherri Hay), mechanical/spatial engineer (Marcus Jamin), Lecoq-trained playmaker (Adam Paolozza), and film and actress/pole dancer (Kiran Friesan). The journey between these two groupings has involved mostly gradual (and occasionally abrupt) comingling of distinct backgrounds of training, fields of expertise, orientations to performance, and aesthetic frames. What has remained consistent, however, is basic drive to explore and exploit psychophysical instability via interdisciplinary and intermedial negotiation.The initial inspiration for VC came from two accomplished Toronto aerialists, Lori Le Mare and Diane McGrath, who were seeking to more thoroughly integrate movement, music, and text in their routines, so that their performances might become less pure spectacle and more interdisciplinary projects. Without any formal training in the discipline, their understanding of theatre was abstract and indistinct-and, thus, charged with potential. On one level, they were drawn by the psychological and emotional possibilities associated with traditional theatrical elements such as unified narratives and familiar dramaturgical structures. However, our collaboration quickly extended the conversation beyond reciprocal interpretive relationship between specific theatrical conventions and corresponding audience expectations into conceptual consideration of the affective qualities and potential associated with theatricality.Of course, theatricality is much discussed and debated concept, one that has traveled complex and circuitous route since Josette Feral's problematic yet still evocative designation, a cleft in the quotidian (2002, 98). I have explored this evolution, along with that of theatricality's equally contentious sibling, performativity, in multiple other contexts (see, for example, Barton 2007, 2009a, and 2009b), and thorough survey of neither idea is warranted in this essay. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,005 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».