... of the theatrical event—instead, Rau seeks to make the representation itself real, blurring the line between fiction and reality to trouble and implicate the audience. Laur ens De Vos A Tal e of Trut h The Use of Brechtian Strategies for Non-­Brechtian Artistic Purposes in Milo Rau s Theater of the Real Before...

...Jean-Guy Lecat; Vallejo Gantner; Joseph V. Melillo; John Collins; Susan Feldman; Anita Durst; Cathy Nanda Sandra Spannen in Power Portraits, a chashama storefront performance, 135 West 42nd Street, 2002. Photo: Marc Dale Real Estate and Theater Space in New...

... reflected and problematized in Rau’s “theater of the real.” The analysis includes aesthetic consideration, an examination of Rau’s rehearsal and creation techniques, and the ways in which audiences and critics have responded to these provocations in different performances. Milo Rau s La reprise: Histoire(s...

...John H. Muse John H. Muse discusses Jonathan Ball’s 2010 collection, Clockfire , a compendium of “sketches of impossible plays,” as a means of interrogating theater’s relationship both to surveillance and the virtual, both of which Muse sees as inherent in all theatrical acts, real or imagined...

... of an event) and the real (the live, living moment), and of history (the formal, insti- tutionalized writing) and historiography (how history is written). Rau prefers the term theater of the real to documentary theater.17 Theater of the real is a theater where docu- ments, testimonies, court records...

... entertainment,” Bert said in one of his last inter- views.6 Service was a dirty word. It was always all or nothing; “dead or famous in five years” was the opening line in 1990. His work with Castorf and René Pollesch will dominate the European theater landscape forever: Real Madrid in the Champions...

... the event. And with just one click, it’s over, never to be repeated. Putting on a show simultaneously for online and live spectators, Folds demonstrates how Chatroulette conceives an Internet venue governed by the same conditions essential to live theater: an ephemeral, real-­time connection...

... and live spectators, Folds demonstrates how Chatroulette conceives an Internet venue governed by the same conditions essential to live theater: an ephemeral, real-­time connection between a performer and a public audience. Theater 40:3  doi 10.1215/01610775-2010-­ ­003 © 2010 by Ryan M. Davis...

... and live spectators, Folds demonstrates how Chatroulette conceives an Internet venue governed by the same conditions essential to live theater: an ephemeral, real-­time connection between a performer and a public audience. Theater 40:3  doi 10.1215/01610775-2010-­ ­003 © 2010 by Ryan M. Davis...

... and live spectators, Folds demonstrates how Chatroulette conceives an Internet venue governed by the same conditions essential to live theater: an ephemeral, real-­time connection between a performer and a public audience. Theater 40:3  doi 10.1215/01610775-2010-­ ­003 © 2010 by Ryan M. Davis...

..., Prato, “theater of the real” as self-consciously “treading the borderline,” switching “between 1997. Photo: ‘real’ contiguity (connection with reality) and ‘staged’ construct” so as to provoke a Gabriele Pellegrini problematic perception in relation to the theater’s other worlds...

... a visionary like Ashley. Yet even Ashley’s dozen or so operas (so far, and he’s still putting them out) aren’t music-theater in a real sense. For one thing, he writes them not for the stage but for tele- vision...

...,” “human,” “Classical.” & epsilon The continuous fracturing of events, their dispersal, reintegration and final, absolute disintegration in the medium of time, whether it be clock or stage, seems to be the basis of theater narrative itself. Real continuities in a non-geezer narrative...

... conceived in the artist’s im- the invocations of his vision, as Artaud suggests: agination must pass through the play in the theater - through Every real effigy has a shadow which is its double; and art the half-life of the text, through...

... could use. things outside of the theater stage, I want to I didn’t label them, because the experience be with real people. I don’t want people who was to be the main thing. Czech theater crit- come to the National Theatre once or twice...

... of an insider’s club. from American theater. STEIN The real estate concerns are so enormous Whatpicture are we missing? I think we have to now, you can’t be a start-up group. talk about questions ofform- When the Manhattan...

... for and slightly scary. As you figure out you’re what I’m doing. My experimental naturalist watching a play and not reality, your suspension theater is extremely real, like Zola’s. Not that of disbelief becomes willing...

... FIELD “issue” in America takes: the easily legible “problem,” intermission, the clear cut “cause,” the unit set, the misunderstood “villain,” the revealed secret, the sentimental last-act breakdown, and of course the expensive real estate of the theater itself where sympathetic spectators...

.... Austin would call their “parasitic” nature, how they feed off both theory and theater.4 Not real theory, not real theater. This is like claiming that “all actors are liars and I am an actor.” Is philosophy onstage “real” thinking, or is it only...

... spaces to be those outside the institutionalized theater auditorium, theater artists have generated countless ways of appropriating, creating, staging, contextualizing, fabricating, and occupying found spaces, whether real or imagined, for performance and performance-­based situations. The common...