Technology and Dramaturgical Development: Five Observations
Identifieur interne : 000B32 ( Istex/Corpus ); précédent : 000B31; suivant : 000B33Technology and Dramaturgical Development: Five Observations
Auteurs : Arnold AronsonSource :
- Theatre Research International [ 0307-8833 ] ; 1999.
Abstract
In her landmark book, The History of the Greek and Roman Theater, the great historian Margarete Bieber stated simply and elegantly, ‘The development of the theater building always follows the development of dramatic literature.’ While historians, of course, have always attempted to explain the drama in terms of known architectural, scenographic, and technological practices, the effect of one upon the other has been less fully or successfully explored. Why, for instance, is the reverse of Bieber's statement not true? And in the rapidly changing technology of the contemporary world, is it possible that technology has become a causal factor in the development of drama?
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DOI: 10.1017/S0307883300020812
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Why, for instance, is the reverse of Bieber's statement not true? And in the rapidly changing technology of the contemporary world, is it possible that technology has become a causal factor in the development of drama?</p></abstract><counts><page-count count="10"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0307883300020812a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Articles</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><title>Notes</title><fn id="fn01" symbol="1."><label>1.</label><p><citation id="ref001" citation-type="book"><name><surname>Bieber</surname><given-names>Margarete</given-names></name>, <source>The History of the Greek and Roman Theater</source>. (<publisher-loc>Princeton, NJ</publisher-loc>: <publisher-name>Princeton University Press</publisher-name>, <year>1961</year>), p. <fpage>167</fpage>.</citation></p></fn><fn id="fn02" symbol="2."><label>2.</label><p><citation id="ref002" citation-type="book"><name><surname>Marinetti</surname><given-names>F. T.</given-names></name>, ‘Manifesto of Futurism’, in <source>Marinetti: Selected Writings</source>, edited by <name><surname>Flint</surname><given-names>R. W.</given-names></name> (<publisher-loc>New York</publisher-loc>: <publisher-name>Farrar, Straus and Giroux</publisher-name>, <year>1972</year>), p. <fpage>41</fpage>.</citation></p></fn><fn id="fn03" symbol="3."><label>3.</label><p><citation id="ref003" citation-type="journal"><name><surname>Foucault</surname><given-names>Michel</given-names></name>, ‘<article-title>Of Other Spaces</article-title>’, <source>Diacritics</source> <volume>16</volume> (<year>1986</year>), p. <fpage>22</fpage>.</citation></p></fn><fn id="fn04" symbol="4."><label>4.</label><p>‘George Coates Interviewed by His (Virtual) Audience’, in <italic>Theatre Forum</italic> (Summer/Fall 1996), p. 27.</p></fn><fn id="fn05" symbol="5."><label>5.</label><p><citation id="ref004" citation-type="book"><name><surname>Vogel</surname><given-names>Paula</given-names></name>, ‘Anne Bogart and the New Play’, in <name><surname>Bogart</surname><given-names>Anne</given-names></name>, <source>Anne Bogart: Viewpoints</source> (<publisher-loc>Lime, New Hampshire</publisher-loc>: <publisher-name>Smith and Kraus</publisher-name>, <year>1995</year>), p. <fpage>95</fpage>.</citation></p></fn><fn id="fn06" symbol="6."><label>6.</label><p><citation id="ref005" citation-type="other"><name><surname>Bogart</surname></name>, <italic>Anne Bogart</italic>, p. <fpage>11</fpage>.</citation></p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Technology and Dramaturgical Development: Five Observations</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>Technology and Dramaturgical Development: Five Observations</title></titleInfo><name type="personal"><namePart type="given">Arnold</namePart><namePart type="family">Aronson</namePart><affiliation>Arnold Aronson is Professor of Theatre Studies, The School of Arts, Columbia University, New York.</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1999</dateIssued><copyrightDate encoding="w3cdtf">1999</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">In her landmark book, The History of the Greek and Roman Theater, the great historian Margarete Bieber stated simply and elegantly, ‘The development of the theater building always follows the development of dramatic literature.’ While historians, of course, have always attempted to explain the drama in terms of known architectural, scenographic, and technological practices, the effect of one upon the other has been less fully or successfully explored. Why, for instance, is the reverse of Bieber's statement not true? And in the rapidly changing technology of the contemporary world, is it possible that technology has become a causal factor in the development of drama?</abstract><relatedItem type="host"><titleInfo><title>Theatre Research International</title></titleInfo><titleInfo type="abbreviated"><title>Theatre Research International</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0307-8833</identifier><identifier type="eISSN">1474-0672</identifier><identifier type="PublisherID">TRI</identifier><part><date>1999</date><detail type="volume"><caption>vol.</caption><number>24</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>188</start><end>197</end><total>10</total></extent></part></relatedItem><identifier type="istex">8202B46512597E9555B81842C7CF2F5AE0D2C60F</identifier><identifier type="ark">ark:/67375/6GQ-GKBVB1Z9-3</identifier><identifier type="DOI">10.1017/S0307883300020812</identifier><identifier type="PII">S0307883300020812</identifier><identifier type="ArticleID">02081</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © International Federation for Theatre Research 1999</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © International Federation for Theatre Research 1999</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-GKBVB1Z9-3/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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