Araştırma Makalesi
PDF EndNote BibTex RIS Kaynak Göster

At Home on Zoom, Theatre Shows During the Quarantine Time

Yıl 2021, Sayı 1, 33 - 57, 31.12.2021
https://doi.org/10.26650/IAR2021-1012

Öz

This article aims to analyse the totality of connections between space, performers and audiences created during artistic performances taking place on the Zoom platform during the lockdown. After Facebook & YouTube live events, these types of show, most often theatre performances but also contemporary dances, poetry shows, concerts, or performance art, became one of the most popular artistic manifestations of March-May 2020. In conjunction with cultural institutions being closed and artists and spectators confined to their homes, the two-month lockdown led to the emergence of a quarantine culture marked by online artistic manifestations. What I call quarantine culture is a kind of homemade culture that involves art performances at home, a theme I have been studying for the past eight years. Here I take up the example of the HomeFest events, which, due to the pandemic, took place on the Zoom platform in 2020. Focusing on the online HomeFest, I examine the differences, as well as commonalities, between the work for a show created for the traditional stage or the black box and the work for the in-house productions broadcast online, where artists have adapted themselves to the domestic, as well as to the virtual space. I explore the interconnections between the elements of the zoom theatre performance (also read as e-homemade culture) while also questioning the relationship between the final work and the cultural market that led to the emergence of e-homemade culture.

Kaynakça

  • Adorno, Theodor; Horkheimer, Max (2002). Enlightenment as Mass Deception. Dialectic of Enlightenment: Philosophical Fragments. Stanford, California: Stanford University Press. google scholar
  • Alloa, E. (2014). The Theatre of the Virtual - How to Stage Potentialities with Merleau-Ponty. In L. Cool & A. Lagaay (Eds), Encounters in Performance Philosophy (pp. 147-170). London, UK: Palgrave McMillian. google scholar
  • Arendt, H. (2007). Conditia umana. Cluj, Romania: Editura Ideea Design and Print. google scholar
  • Bennett, S. (2005). Theatre Audiences, A Theory of Production and Reception,. New York, NY: Routledge. google scholar
  • Bourriaud, N. (2004). Forma relationalâ, Ideea. Arta + Societate, 19, retrieved from http://idea.ro/revista/ro/article/XMnK6SsAADgA1bld/forma-relationala. google scholar
  • Brook, A. (2020, 19th November). Sedentary Pandemic Life is Bad for Our Happiness, The Atlantic. com. Retrieved from https://www.theatlantic.com/family/archive/2020/11/sedentary- pandemic-life-happiness/617142/. google scholar
  • Dapp, G. (2007). Mediaclash In Political Theatre, Antwerpen, Belgium: Tectum. google scholar
  • Dinescu, L. M. (2007). Corpul în imaginarul Virtual. laşi, Romania: Polirom. google scholar
  • Gell, A. (1988). Art and Agency: An Anthropological Theory, Oxford: Oxford Theory Press. google scholar
  • Goffman, E. (1961/2004). Asylums, Norwell, US: Anchor Press. google scholar
  • Hebdige, D. (1979). Subculture: the meaning of style. Abingdon, UK: Routledge. google scholar
  • Heidegger, H. (2000). Conceptul timpului, Bucureşti, Romania: Humanitas. google scholar
  • Kale, S. (2020, 20th April). Skin Hunger Explains Your Desperate Longing for Touch, Wired. Retrived from https://www.wired.co.uk/article/skin-hunger-coronavirus-human-touch. google scholar
  • Kenarov, D. (2021, 23rd July). The Extravagant Exuberance of Ivo Dimchev, New Yorker. Retrieved from https://www.newyorker.com/culture/persons-of-interest/the-extravagant- exuberance-of-ivo-dimchev. google scholar
  • Kornhaber, D. (2011). The Art of Putting Oneself on Stage before Oneself’: Theatre, Selfhood, and Nietzsche’s Epistemology of the Actor (pp. 240-253), Theatre Research International, 36. google scholar
  • Mackintosh, I. (1993). Architecture Actor Audience, London & New York: Routledge. google scholar
  • Manta, A. (2015). Sub masca actorului. Dezindividualizare şi strategii de distantare de rol, (thesis). Facultatea de Sociologie: Bucureşti. google scholar
  • McLuhan, M. (1964). Understanding Media: The Extensions of Man, McGraw-Hill Education. google scholar
  • Saiu, O. (2008). În cautarea spatiuluipierdut, Nemira, Bucureşti: Nemira. google scholar
  • Schechner, R. (1968). 6 Axioms for Environmental Theatre, The Drama Review: TDR, Vol. 12, No. 3, Cambridge, UK: Cambridge University Press. google scholar
  • Shechner, R. (1973). Environmental Theatre. New York, NY: Hawthorne Books. google scholar
  • Shechner, R. (2013). Performance Studies - An introduction, 3rd Edition, New York and London: Routledge. google scholar
  • “Situationism”, in Art Terms, Tate UK, https://www.tate.org.uk/art/art-terms/s/situationist-international. google scholar
  • “Social Turn”, in Art Terms, Tate UK, Retrieved from https://www.tate.org.uk/art/art-terms/s/social-turn. google scholar
  • Sterian, J. L (2020). From homemade culture to e-homemade culture (pp. 27-66) Annals of the “Ovidius” University of Constanja - Political Science Series, retrieved from http://annals-politics.univ-ovidius. ro/wp-content/uploads/2021/02/2.-AUOC-PolSci-Vol.-9-2020-27-66-Sterian.pdf. google scholar
  • Ward, O. (2017). The Actor as a Priest. An Investigation of sacred theatre as a Fullness of Being and Sacred Performance as an Absence of Being. Paper retrieved from https://www.academia. edu/20187994/The_Actor_as_Priest_An_Investigation_of_Sacred_Theatre_as_a_Fullness_of_ Being_and_Sacred_Performance_as_an_Absence_of_Being. google scholar

At Home on Zoom, Theatre Shows During the Quarantine Time

Yıl 2021, Sayı 1, 33 - 57, 31.12.2021
https://doi.org/10.26650/IAR2021-1012

Öz

This article aims to analyse the totality of connections between space, performers and audiences created during artistic performances taking place on the Zoom platform during the lockdown. After Facebook & YouTube live events, these types of show, most often theatre performances but also contemporary dances, poetry shows, concerts, or performance art, became one of the most popular artistic manifestations of March-May 2020. In conjunction with cultural institutions being closed and artists and spectators confined to their homes, the two-month lockdown led to the emergence of a quarantine culture marked by online artistic manifestations. What I call quarantine culture is a kind of homemade culture that involves art performances at home, a theme I have been studying for the past eight years. Here I take up the example of the HomeFest events, which, due to the pandemic, took place on the Zoom platform in 2020. Focusing on the online HomeFest, I examine the differences, as well as commonalities, between the work for a show created for the traditional stage or the black box and the work for the in-house productions broadcast online, where artists have adapted themselves to the domestic, as well as to the virtual space. I explore the interconnections between the elements of the zoom theatre performance (also read as e-homemade culture) while also questioning the relationship between the final work and the cultural market that led to the emergence of e-homemade culture.

Kaynakça

  • Adorno, Theodor; Horkheimer, Max (2002). Enlightenment as Mass Deception. Dialectic of Enlightenment: Philosophical Fragments. Stanford, California: Stanford University Press. google scholar
  • Alloa, E. (2014). The Theatre of the Virtual - How to Stage Potentialities with Merleau-Ponty. In L. Cool & A. Lagaay (Eds), Encounters in Performance Philosophy (pp. 147-170). London, UK: Palgrave McMillian. google scholar
  • Arendt, H. (2007). Conditia umana. Cluj, Romania: Editura Ideea Design and Print. google scholar
  • Bennett, S. (2005). Theatre Audiences, A Theory of Production and Reception,. New York, NY: Routledge. google scholar
  • Bourriaud, N. (2004). Forma relationalâ, Ideea. Arta + Societate, 19, retrieved from http://idea.ro/revista/ro/article/XMnK6SsAADgA1bld/forma-relationala. google scholar
  • Brook, A. (2020, 19th November). Sedentary Pandemic Life is Bad for Our Happiness, The Atlantic. com. Retrieved from https://www.theatlantic.com/family/archive/2020/11/sedentary- pandemic-life-happiness/617142/. google scholar
  • Dapp, G. (2007). Mediaclash In Political Theatre, Antwerpen, Belgium: Tectum. google scholar
  • Dinescu, L. M. (2007). Corpul în imaginarul Virtual. laşi, Romania: Polirom. google scholar
  • Gell, A. (1988). Art and Agency: An Anthropological Theory, Oxford: Oxford Theory Press. google scholar
  • Goffman, E. (1961/2004). Asylums, Norwell, US: Anchor Press. google scholar
  • Hebdige, D. (1979). Subculture: the meaning of style. Abingdon, UK: Routledge. google scholar
  • Heidegger, H. (2000). Conceptul timpului, Bucureşti, Romania: Humanitas. google scholar
  • Kale, S. (2020, 20th April). Skin Hunger Explains Your Desperate Longing for Touch, Wired. Retrived from https://www.wired.co.uk/article/skin-hunger-coronavirus-human-touch. google scholar
  • Kenarov, D. (2021, 23rd July). The Extravagant Exuberance of Ivo Dimchev, New Yorker. Retrieved from https://www.newyorker.com/culture/persons-of-interest/the-extravagant- exuberance-of-ivo-dimchev. google scholar
  • Kornhaber, D. (2011). The Art of Putting Oneself on Stage before Oneself’: Theatre, Selfhood, and Nietzsche’s Epistemology of the Actor (pp. 240-253), Theatre Research International, 36. google scholar
  • Mackintosh, I. (1993). Architecture Actor Audience, London & New York: Routledge. google scholar
  • Manta, A. (2015). Sub masca actorului. Dezindividualizare şi strategii de distantare de rol, (thesis). Facultatea de Sociologie: Bucureşti. google scholar
  • McLuhan, M. (1964). Understanding Media: The Extensions of Man, McGraw-Hill Education. google scholar
  • Saiu, O. (2008). În cautarea spatiuluipierdut, Nemira, Bucureşti: Nemira. google scholar
  • Schechner, R. (1968). 6 Axioms for Environmental Theatre, The Drama Review: TDR, Vol. 12, No. 3, Cambridge, UK: Cambridge University Press. google scholar
  • Shechner, R. (1973). Environmental Theatre. New York, NY: Hawthorne Books. google scholar
  • Shechner, R. (2013). Performance Studies - An introduction, 3rd Edition, New York and London: Routledge. google scholar
  • “Situationism”, in Art Terms, Tate UK, https://www.tate.org.uk/art/art-terms/s/situationist-international. google scholar
  • “Social Turn”, in Art Terms, Tate UK, Retrieved from https://www.tate.org.uk/art/art-terms/s/social-turn. google scholar
  • Sterian, J. L (2020). From homemade culture to e-homemade culture (pp. 27-66) Annals of the “Ovidius” University of Constanja - Political Science Series, retrieved from http://annals-politics.univ-ovidius. ro/wp-content/uploads/2021/02/2.-AUOC-PolSci-Vol.-9-2020-27-66-Sterian.pdf. google scholar
  • Ward, O. (2017). The Actor as a Priest. An Investigation of sacred theatre as a Fullness of Being and Sacred Performance as an Absence of Being. Paper retrieved from https://www.academia. edu/20187994/The_Actor_as_Priest_An_Investigation_of_Sacred_Theatre_as_a_Fullness_of_ Being_and_Sacred_Performance_as_an_Absence_of_Being. google scholar

Ayrıntılar

Birincil Dil İngilizce
Konular Antropoloji
Bölüm Araştırma Makaleleri
Yazarlar

Jean-lorin STERİAN Bu kişi benim (Sorumlu Yazar)
The National University of Political Studies and Public Administration, Faculty of Sociology, Bucharest, Romania
0000-0002-6427-8517
Romania

Yayımlanma Tarihi 31 Aralık 2021
Yayınlandığı Sayı Yıl 2021, Cilt , Sayı 1

Kaynak Göster

APA Sterian, J. (2021). At Home on Zoom, Theatre Shows During the Quarantine Time . Istanbul Anthropological Review , (1) , 33-57 . DOI: 10.26650/IAR2021-1012