Uma década de transmissões de apresentações teatrais: questões e tendências

Autor/innen

  • Pascale Aebischer Universidade de Exeter

DOI:

https://doi.org/10.5902/2176148556341

Schlagworte:

Transmissão de teatro, William Shakespeare, National Theatre Live (NT Live), RSC, O Globo shakespeariano, Rob Ashford, Kenneth Branagh

Abstract

Este artigo acompanha o período de desenvolvimento da transmissão teatral no Reino Unido dentre 2009, quando a NT Live lançou sua operação de transmissão, e 2019. Defende a necessidade de considerar o impacto que as tecnologias de transmissão teatral têm na produção e na recepção de Shakespeare tanto na Grã-Bretanha como ao redor do mundo, considerando-se que as transmissões estão cada vez mais aptas a se tornarem substitutas da experiência de teatro que promovem. A primeira parte do artigo considera o alcance diferencial deste fenômeno supostamente "global" em continentes diversos e explora o risco de que grandes companhias como a National Theatre, a RSC e a Shakespeare's Globe construam monopólios culturais que possam restringir a participação de companhias menores. A segunda parte considera as técnicas de câmera utilizadas pelas transmissões e dá uma atenção especial à relação entre a montagem de proscênio no teatro e a bidimensionalidade da tela de cinema em Romeu e Julieta de Rob Ashford e Kenneth Branagh, que foi transmitida ao vivo pela Kenneth Branagh Company no Garrick Live em 2016.

Downloads

Keine Nutzungsdaten vorhanden.

Autor/innen-Biografie

Pascale Aebischer, Universidade de Exeter

scale Aebischer is Professor of Shakespeare and Early Modern Performance Studies. She specialises in the history of the performance of early modern drama (including Shakespeare), with an emphasis on 1580s-1700 and 1980s-present. She has a particular interest in bodies and performance technologies (from candlelight through social media to 'live' theatre broadcast), as well as in the connection between the reconstruction of early modern playhouses and urban regeneration. These interests are reflected in her teaching, which focuses on early modern - Restoration theatrical cultures and performance practices, Shakespeare, and present-day performance on stages and screens.

Literaturhinweise

ABRAHAMS, Mitra; TUCK, Fiona. Understanding the impact of event cinema: An Evidence Review.Arts Council England, Web, 2 November, 2015.

AEBISCHER, Pascale; GREENHALGH, Susane; OSBORNE, Laurie. shakespeare and the “Live” Theatre Broadcast experience. 1sted. London: The Arden Shakespeare, 2019.

AEBISCHER, Pascale. shakespeare, spectatorship and Techno-logies of Performance. 1st ed. Cambridge: Cambridge: Cambridge University Press, 2020.

Arts Council England, Analysis of Theatre in england: Final Report by BOP Consulting & Graham Devlin Associates. 13 September, 2016.

BAKHSHI, Hasan; WHITBY, Andrew. Estimating the Impact of Live Simulcast on Theatre Attendance: an Application to London’s Na-tional Theatre. nesTA Working Paper 14/04, June, 2014.

AUSLANDER, Philip. Liveness: Performance in a Mediatized Culture. 2nd ed. London: Routledge, 2008.

BARKER, Martin. Live to Your Local cinema: The Remarkable Rise of Livecasting.1st ed.. Basingstoke: Palgrave Macmillan, 2013.

BILLINGTON, Michael. National Theatre Live: Phèdre. The Guar-dian, 26 June, 2009.

BILLINGTON, Michael. Romeo and Juliet Review – Branagh Gives Tragedy a Touch of La Dolce Vita. The Guardian, 26 May, 2016.

CARSON, Christie. Creating a Critical Model for the Twenty-First Century. In: CARSON, Christie; KIRWAN,Peter (editors). shakespe-are and the Digital World: Redefining Scholarship and Practice. Cambridge: CUP, 2014.

DROMGOOLE. The Impact of New Forms of Public Performance. shakespeare and the Digital World: Redefining Scholarship and Practice. Ed. Christie Carson e Peter Kirwan. Cambridge: CUP, 2014.

FAIRSERVICE, Don. film editing: History, Theory and Practice. 1sted. Manchester: Manchester University Press, 2001.

FAULKNER, Sally. Introduction: Approaching the Middlebrow: Au-dience; Text; Institution. Middlebrow cinema, ed. Sally Faulkner. London: Routledge, 2016.

FREESTONE, Elizabeth. What Live Theatre Screenings Mean for Small Companies. The Guardian, Theatre Blog, 20th of January, 2014.Garrick’s staging by George C. Branam. “The Genesis of David Garrick’s Romeo and Juliet”, shakespeare Quarterly 35.2. 1984.

KARPF, Brent; REIDY, Schutt; BECKY, Abramson Deborah; DURSKI, Antoni. from Live-to-Digital: Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution. Arts Council UK, October, 2016.

KIRWAN, Peter. cheek by Jowl: Reframing Complicity in Web-Stre-ams of Measure for Measure. Shakespeare and the “Live” Theatre Broadcast Experience, eds. Pascale Aebischer, Susanne Greenhalgh and Laurie E. Osborne. London: Bloomsbury Arden, 2018.

MCAULEY, Gay. space in Performance: Making Meaning in the Theatre. 1st ed. Ann Arbor: University of Michigan Press, 1999.

MITCHELL, Robert. At Cinemas Worldwide, Survival Is an Event. Variety LA, 23, Sptember. 2014.

NICHOLAS, Rachael. Appendix: Digital Theatre Broadcasts of Shakes-peare, 2003-2017. shakespeare and the ‘Live’ Theatre Broadcast experience. Eds. Pascale Aebischer, Susanne Greenhalgh e Laurie Osborne. London: Bloomsbury Arden, 2018.

ORPEN, Valerie. film editing: The art of the expressive. 1st ed. New York: Columbia University Press, 2003.

OSBORNE E., Laurie. Speculations on Shakespearean Cinematic Liveness. shakespeare Bulletin 24.3. 2006.

PATERSON, Eddie; STEVENS, Lara. From Shakespeare to the Super Bowl: Theatre and the Global Liveness. Australasian Drama stu-dies, 62. April. 2013.

PURCEL. Stephenl. The Impact of New Forms of Public Performance.In: CARSON, Christie; KIRWAN, Peter (eds.). shakespeare and the Digital World: Redefining Scholarship and Practice. Cambridge: Cambridge University Press, 2014.

SULLIVAN, Erin. Stage, Space, and Celebrity: Coriolanus at the Donmar. Digital shakespeare blog, 4 April 2014.

SABEL, David. in NESTA, nT Live: Digital Broadcast of Theatre: Learning from the Pilot Season(2011), p. 9.

SULLIVAN, Erin. Richard ii, Royal Shakespeare Company (RST). Special Reviews Section: Live Cinema Relays of Shakespearean Per-formance, ed. Susanne Greenhalgh. Shakespeare Bulletin 32.2. 2014.

WARD, Peter. studio and Outside Broadcast camera Work: a Guide to Multi-Camera Work Production. 2nd ed. Oxford: Focal Press, 2001.

WYVER, John. screening the Rsc stage. 1st ed. London: The Arden Shakespeare, 2019.

WYVER, John. All the Trimmings?: The Transfer of Theatre to Televi-sion in Adaptations of Shakespeare Stagings. Adaptation 7.2. 2014.

WYVER, John. Straight from Theatre’ Stuff: Television, Cinema and Live outside Broadcasts of Shakespeare. Seminar paper, World shakespeare congress, Stratford-upon-Avon and London, 2016; Auslander, Liveness.

WYVER, John. ‘Make Choice; and, See’: Towards a Poetics of Mul-tims. Paper presented at the shakespeare, Media, Technology and Performance conference, University of Exeter, 14 June 2017; private correspondence, 19 June, 2019.

Downloads

Veröffentlicht

2021-03-11 — aktualisiert am 2022-08-02

Versionen

Zitationsvorschlag

Aebischer, P. (2022). Uma década de transmissões de apresentações teatrais: questões e tendências. Letras, 159–178. https://doi.org/10.5902/2176148556341 (Original work published 11. März 2021)

Ausgabe

Edição Especial - 2/2020: Teatro Elisabetano e Jacobino: estudos textuais, teatrais e críticos

Rubrik

Artigos

Lizenz

Copyright (c) 2021 Letras

Creative-Commons-Lizenz
Dieses Werk steht unter der Lizenz Creative Commons Namensnennung - Nicht-kommerziell - Weitergabe unter gleichen Bedingungen 4.0 International. Ficam concedidos a Letras todos os direitos autorais referentes aos trabalhos publicados. Os originais não devem ter sido publicados ou submetidos simultaneamente a outro periódico e não serão devolvidos. Em virtude de aparecerem nesta revista de acesso público, os artigos são de uso gratuito, com atribuições próprias, em aplicações educacionais e não comerciais.