Theatre through the Camera Eye : The Poetics of an Intermedial Encounter (Edinburgh Studies in Film and Intermediality)

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Theatre through the Camera Eye : The Poetics of an Intermedial Encounter (Edinburgh Studies in Film and Intermediality)

Sava, Laura

ウェブストア価格 ¥6,536（本体¥5,942）
Edinburgh University Press（2021/05発売）
外貨定価 US$ 29.95
ポイント 59pt

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製本 Paperback:紙装版/ペーパーバック版／ページ数 256 p.
言語 ENG
商品コード 9781474484282
DDC分類 791.436579

Full Description

How do we experience theatre through film? Laura Sava critically engages with the filmic representation of theatre, focusing on a selection of art house and independent films which provide a sophisticated commentary on the interaction between the two media.
Through an in-depth analysis of films such as Jacques Rivette's L'Amour fou, Pedro Almodóvar's All About My Mother and Charlie Kaufman's Synecdoche, New York, this book analyses the embedment of theatre in film and the notion of spectatorial address. Using textual analysis in conjunction with concepts derived from narratology, performance philosophy, and film and theatre phenomenology, it explores the mechanisms of representation involved in the intermedial diegetisation of theatre in film.

Acknowledgments

List of illustrations

Introduction: Accommodating Difference: The Filmic Representation of Theatre

Part I: Theatre, Interrupted: Strategies of Intermedial Embedment

Chapter 1: No Strings Attached: Framing Puppets in Movement

1.1 The Double Life of Véronique and the Theatrical Mise en Abyme

1.2 Dolls: Theatrical Bracketing and Filmic Distortion

Chapter 2: Theatre, Memory, and the Framing Voice

2.1. The Jester: Competing Voices in Alternating Scenes

2.2. All About My Mother: Filmic and Theatrical Repetitions

Chapter 3: The Making and Unmaking of Theatre Rehearsals on Screen

3.1. Theatre in Multiple Frames: L'Amour fou and the Self-Defeating Rehearsal

3.2. Synecdoche, New York: Film and Theatre as Mutually Contaminating Worlds

Part II: Divided Attention: Intermedial Performers and their Split Audience

Chapter 4: Spectatorship by Proxy Meets Multimodal Performance

4.1. Subversive Performances and Sonic Perspectives in Opening Night

4.2. Conspicuous Camera and Utopian Spectatorship in A Tale of Winter

4.3. Exit the Actor: Restrained Performances and the View from the Wings in I'm Going Home

Chapter 5: Cinematic Monologues and Their Spectatorial Address

5.1. The Travelling Players and the Historical Monologue

5.2. 'Something to do with living': My Dinner with André and the Ekphrastic Duologue

5.3. Spalding Gray and the Autobiographical Monologue

5.4. The Arbor and the Unreliable Monologue

Epilogue

Bibliography

Index