Books: Staging the Screen – The Use of Film and Video in Theatre

The use of film and video is commonplace in contemporary theatre, viewed by some as contaminating theatre’s ‘liveness’, by others as inevitable and desirable. After tracing the history of current approaches back to early practitioners such as Méliès, Painlévé and Piscator, Staging the Screen explores in detail recent productions by Svoboda, the Wooster Group, Forkbeard Fantasy, Forced Entertainment, Station House Opera, and Lepage. It charts the impact of developing technologies and addresses critical issues raised by multi-media and intermedia work. Staging the Screen: The Use of Film and Video in Theatre by: Greg Giesekam Table of Contents: Introduction: Contamination or Remediation? European Pioneers: Magic vs. Realism Polysceicness: Josef Svoboda and Laterna Magika Po...

Alexander Calder’s “Circus”

Carlos Vilardebo’s 1961 film of Alexander Calder’s “circus,” an intricately assembled performance piece played out by handmade characters including jugglers, sword swallowers, clowns, and animals. These figures, crafted from a collection of “cork, wire, wood, yarn, paper, string, and cloth,” were each assigned a series of movements and manipulated by the artist to perform specific circus acts. With performances held at various locations in Paris and New York through the mid 1930s, Calder’s circus helped to establish him in avante-garde circles. Jean Cocteau, Joan Miró, Fernand Léger, Piet Mondrian, Le Corbusier, Thomas Wolfe, and André Kertész were among those who saw the celebrated Cirque Calder over the years.

Featured: Paul D C Kindersley (UK)

According to the British artist Paul Kindersley, the performance element in his work is, if not acted out, always suggested in his pieces. ‘They are props, which could be left over or yet to be used in some ritual. Objects placed in relation to one another, suggesting an intertwined movement or dialogue. They are pieces that long for something or someone, desiring a completion. Offering but never fulfilling a suggested narrative, one that can only be completed when the work re-enters a shared culture imagination, the interaction with the prop leaving behind a lingering residue. The hand and its marks are ever present, suggesting an interactivity and impermanence.’ I was introduced to Kindersley’s work earlier this year. I admired the relevance of both his live and video performances, in pa...