1,720,991 research outputs found
Corpi, linguaggi, spazio pubblico. Il politico nel Festival di Santarcangelo per Tomasz Kireńczuk
No full textDonna. Vita. Libertà. Performance, immagini e storie a sostegno della protesta in Iran.
No full textL'articolo osserva le forme artistiche della protesta in Ira
Eco-attivismo «contro» le opere d’arte: iconoclastie per un catastrofismo illuminato
No full textL'articolo indaga il fenomeno dell'eco-attivismo rivolto alle opere d'arte come fenomeno sociologico e comunicativ
Performance (teatrali) seriali. Osservare la liveness come formato e frame mediale
No full textIl saggio affronta il tema della serialità teatrale attraverso la prospettiva della mediatizzazione
Gradienti di liveness. Performance e comunicazione dal vivo nei contesti mediatizzati
No full textLa liveness rappresenta una parola chiave per lo studio dei media e della performance che permette di cogliere dinamicamente le trasformazioni del senso dell’“essere in presenza” nella contemporaneità mediatizzata.
Osservare la liveness in termini di gradienti mostra il carattere molteplice, contingente e talvolta ideologico della categoria del live, ma anche il valore che industrie e utenti vi attribuiscono
On theatre mediatisation: exploring transmediality in Aldo Morto 54
No full textThis paper explores the process of theatre mediatisation by analysing the Italian case study of Aldo Morto 54 by Compagnia Frosini/Timpano. Through a review of the recent literature on the topic, we propose to show how the conceptual framework developed in mediatisation studies can provide a useful contribution to the field of theatre/performance studies. The paper will look at three areas of theatre mediatisation: the mediatisation of dramaturgy through the concept of transmedia; the mediatisation of theatrical presence, with the debate on digital liveness, and the mediatisation of the theatrical relationship through social media. In describing the transmedia project Aldo Morto 54, we will observe the mediatisation process in the field of theatre by looking at a digital extension of a theatre performance and at the way the online audience responded to the project
Theatre Dispositif and the Challenge of Covid-19: Mediatisation, Liveness and Audiences
Full text linkThe COVID-19 emergency has had a profound impact on the artistic and cultural sectors, and on performing arts in particular. The lockdown required the suspension of all live performances and rehearsals, including the cancellation of seasons and festivals. Because physical proximity is an essential component of live shows, this sector will be on pause longer than the others. Since the early stages of the lockdown, Italian theatre has developed several online initiatives to counterbalance the suspension of its activities. These efforts have aimed at maintaining contact with the remote theatre audiences, by extending the presence of artists, theatres and performances in the online context. However, they have also provided an opportunity to reflect at large on the digital transformations of performing arts. The following contribution reflects on how we are researching the online response of the theatrical sector from the perspective of sociology and media studies. The paper aims to contextualise the phenomenon within the processes of theatre mediatisation and digital transformation of liveness, and to present what we think are the most urgent research questions in this direction. The first part of the article introduces the theoretical premises of the investigation. We present the frame of theatre mediatisation by analysing three interrelated processes: the mediatisation of dramaturgy through the concept of transmedia; the mediatisation of theatrical presence, with the debate on digital liveness, and the mediatisation of the theatrical relationship through social media. The second part will analyse some of the main online initiatives of the theatre sector, observing how they fit into the previously introduced mediatisation processes. The third part will observe how users have responded to the initiatives presented on social media by some of the main Italian theatres. In the conclusions, we will discuss which research questions we consider crucial to connect the analysis of this critical moment to the main themes of sociological and media studies research on performing arts
Comunità teatrali mediatizzate. Forme della partecipazione e spettatorialità nel progetto BAT-Bottega Amletica Testoriana
Full text linkThis paper analyses the intersection between theories of participative art (Bourriaud 1998; Kester 2004; Bishop 2012; Harvie 2013) and mediatization from the perspective of the participatory cultures (Jenkins 2006, 2008; Boccia Artieri 2012). To do this the paper presents the case study of BAT - Bottega Amletica Testoriana, an innovative performative project conceived by the director Antonio Latella in collaboration with the multidisciplinary circuit of the Marche Region (Amat) that stands out as a formative pathway and co-creation workshop for eight young performers. BAT must be seen as an experimental and innovative performative project based on the performers training and the audience engagement despite the lack of a final show. At the same time, it has engaged a select group of eight spectators who have followed the project closely and actively, forming a distinctive community of practice sustained by continuous interaction through a WhatsApp group. The paper presents the results of a research conducted both through interviews with the organizers, performers and a sample of the audience, and the analysis of the WhatsApp conversations among the eight spectators involved in the project and among them and the organizers. The presented findings allow to observe an emerging theatrical community based on the mediatization of dramaturgy, presence and communication roles
Il dispositivo teatrale alla prova del Covid-19. Mediatizzazione, liveness e pubblici
Full text linkThe COVID-19 emergency had a profound impact on the artistic and cultural sectors, and on performing arts in particular. The lockdown required the suspension of all live performances and rehearsals, including the cancellation of seasons and festivals. Because physical proximity is an essential component of the live shows, this sector will be on pause longer than the others. Since the early stages of the lockdown, the Italian theatre field developed several online initiatives to counterbalance the suspension of its activities. These efforts aimed at keeping the relationship with the remote theatre audiences, by extending the presence of artists, theatres and performances in the online context. However, they also provided an opportunity to reflect at large on the digital transformations of performing arts. The following contribution reflects on how we are researching the online response of the theatrical sector from the perspective of sociology and media studies. The paper aims to contextualise the phenomenon within the processes of theatre mediatisation and digital transformation of liveness, and to the present what we think are the most urgent research questions in this direction. The first part of the article introduces the theoretical premises of the investigation. We present the frame of theatre mediatisation by analysing three interrelated processes: the mediatisation of dramaturgy through the concept of transmedia; the mediatisation of theatrical presence, with the debate on digital liveness, and the mediatisation of the theatrical relationship through social media. The second part will analyse some of the main online initiatives of the theatrical sector, observing how they fit into the previously introduced mediatisation processes. The third part will observe how users have responded to the initiatives presented on social media by some of the main Italian theatres. In the conclusions, we will discuss which research questions we consider crucial to connect the analysis of this critical moment to the main themes of sociological and media studies research on performing arts
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