東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Exuberant Intermediality: Hypermedia...

Henderson, Leigh.

Linked to FindBook

Google Book

Amazon

博客來

Exuberant Intermediality: Hypermediacy, Technology, Space-Time, and Cyborgs in the U.S. Popular Theater 1873-1915.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Exuberant Intermediality: Hypermediacy, Technology, Space-Time, and Cyborgs in the U.S. Popular Theater 1873-1915./
Author:	Henderson, Leigh.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	295 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-05, Section: A.
Contained By:	Dissertations Abstracts International80-05A.
Subject:	Performing arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10974731
ISBN:	9780438574472

Exuberant Intermediality: Hypermediacy, Technology, Space-Time, and Cyborgs in the U.S. Popular Theater 1873-1915.
Henderson, Leigh.

Exuberant Intermediality: Hypermediacy, Technology, Space-Time, and Cyborgs in the U.S. Popular Theater 1873-1915. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 295 p.

Source: Dissertations Abstracts International, Volume: 80-05, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2018.

This item must not be sold to any third party vendors.

Intermedial theater is not just theater that employs other media and media technologies. It is theater that, in so doing, makes mediation itself a core component of the audience's experience. Therefore, intermediality, as an approach to theater, is highly relevant to today's increasingly technology-driven and multimedial world, in which the experience of mediation is itself a real and prominent experience of modern life. In the United States today, however, the predominant aesthetics of mainstream theater run counter to intermediality. For the most part, mainstream theater today adheres to an aesthetic that strives to render the theater medium itself transparent, leaving the audience conscious only of the represented world on the stage. This is true even as theater today is ambitious and creative in employing new media and new technologies because, for the most part, these new media and new technologies are still employed in service of the same aesthetic goals. As a result, intermedial theater, in which media and mediation itself are core components of audience experience, exists today primarily on the avant-garde periphery. By contrast, the late nineteenth and early twentieth century United States offers an example of a mainstream popular theater that embraced an intermedial approach. Specifically, theater practice in the late nineteenth and early twentieth century United States was characterized by a prevailing aesthetic of fragmentation and indeterminacy, an ambitious and overt employment of new technologies, complex spatiotemporal contradictions and disunities, and a cyborg point of view expressed both through integrations of human bodies and technology and through juxtapositions of human and inhuman performance. All of these characteristics encourage audiences to perceive the mediating presence of theater per se, as well as that of the technologies employed in the theatrical performance. My central argument in this dissertation is that this exuberant intermediality of the popular theater in the late nineteenth and early twentieth century United States resulted in a playful, ambitious, engaging, popular theater that played a crucial social and cultural role at a transformational moment in media history. As a result, the popular theater of the late nineteenth and early twentieth century United States thrived. Today, when theater has been relegated to a position of lesser cultural importance relative to digital mass media, we might benefit from looking back. The lesson of this popular theater of the late nineteenth and early twentieth century United States is not to imitate its specific aesthetics or practices, but rather to imitate its embrace of the medial flexibility and multimodality of theater in a way appropriate to the very different medial, technological, and cultural environment in which we exist today. Understanding, through the example of the past, the theatrical potential of intermediality in mainstream practice might open up aesthetic, structural, and conceptual possibilities that could help theater as a field remain relevant specifically in today's multimedial world.

ISBN: 9780438574472Subjects--Topical Terms:

523119
Performing arts.
Subjects--Index Terms:

Hypermediacy

Exuberant Intermediality: Hypermediacy, Technology, Space-Time, and Cyborgs in the U.S. Popular Theater 1873-1915.
LDR:04471nmm a2200409 4500 001 2271941
005 20201030112902.5
008 220629s2018 ||||||||||||||||| ||eng d
020 $a 9780438574472
035 $a (MiAaPQ)AAI10974731
035 $a (MiAaPQ)wisc:15828
035 $a AAI10974731
040 $a MiAaPQ $c MiAaPQ
100 1 $a Henderson, Leigh. $3 3549360
245 1 0 $a Exuberant Intermediality: Hypermediacy, Technology, Space-Time, and Cyborgs in the U.S. Popular Theater 1873-1915.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2018
300 $a 295 p.
500 $a Source: Dissertations Abstracts International, Volume: 80-05, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Heuvel, Michael J. Vanden.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2018.
506 $a This item must not be sold to any third party vendors.
520 $a Intermedial theater is not just theater that employs other media and media technologies. It is theater that, in so doing, makes mediation itself a core component of the audience's experience. Therefore, intermediality, as an approach to theater, is highly relevant to today's increasingly technology-driven and multimedial world, in which the experience of mediation is itself a real and prominent experience of modern life. In the United States today, however, the predominant aesthetics of mainstream theater run counter to intermediality. For the most part, mainstream theater today adheres to an aesthetic that strives to render the theater medium itself transparent, leaving the audience conscious only of the represented world on the stage. This is true even as theater today is ambitious and creative in employing new media and new technologies because, for the most part, these new media and new technologies are still employed in service of the same aesthetic goals. As a result, intermedial theater, in which media and mediation itself are core components of audience experience, exists today primarily on the avant-garde periphery. By contrast, the late nineteenth and early twentieth century United States offers an example of a mainstream popular theater that embraced an intermedial approach. Specifically, theater practice in the late nineteenth and early twentieth century United States was characterized by a prevailing aesthetic of fragmentation and indeterminacy, an ambitious and overt employment of new technologies, complex spatiotemporal contradictions and disunities, and a cyborg point of view expressed both through integrations of human bodies and technology and through juxtapositions of human and inhuman performance. All of these characteristics encourage audiences to perceive the mediating presence of theater per se, as well as that of the technologies employed in the theatrical performance. My central argument in this dissertation is that this exuberant intermediality of the popular theater in the late nineteenth and early twentieth century United States resulted in a playful, ambitious, engaging, popular theater that played a crucial social and cultural role at a transformational moment in media history. As a result, the popular theater of the late nineteenth and early twentieth century United States thrived. Today, when theater has been relegated to a position of lesser cultural importance relative to digital mass media, we might benefit from looking back. The lesson of this popular theater of the late nineteenth and early twentieth century United States is not to imitate its specific aesthetics or practices, but rather to imitate its embrace of the medial flexibility and multimodality of theater in a way appropriate to the very different medial, technological, and cultural environment in which we exist today. Understanding, through the example of the past, the theatrical potential of intermediality in mainstream practice might open up aesthetic, structural, and conceptual possibilities that could help theater as a field remain relevant specifically in today's multimedial world.
590 $a School code: 0262.
650 4 $a Performing arts. $3 523119
650 4 $a Theater history. $3 2144911
650 4 $a Multimedia communications. $3 590562
653 $a Hypermediacy
653 $a Intermediality
653 $a Media
653 $a Multimedia
653 $a Stage design
653 $a Theater technology
690 $a 0558
690 $a 0641
690 $a 0644
710 2 $a The University of Wisconsin - Madison. $b Theatre & Drama. $3 2093862
773 0 $t Dissertations Abstracts International $g 80-05A.
790 $a 0262
791 $a Ph.D.
792 $a 2018
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10974731