Gareth White - Böcker

Being an audience participant can be a confusing and contradictory experience. When a performance requires us to do things, we are put in the situation of being both actor and spectator, of being part of the work of art while also being the audience who receives it, and of being both perceiving subject and aesthetic object. This book examines these contradictions – and many others – as they appear by accident and by design in increasingly popular forms of interactive, immersive, and participatory performance in theatre and live art.Borrowing concepts from cognitive philosophy and bringing them into a conversation with critical theory, Gareth White sharply examines meaning as a process that happens to us as we are engaged in the problems and negotiations of a participatory performance.This study will be of great interest to scholars and students of theatre and performance, intermedial arts and games studies, and to practising artists.

Being an audience participant can be a confusing and contradictory experience. When a performance requires us to do things, we are put in the situation of being both actor and spectator, of being part of the work of art while also being the audience who receives it, and of being both perceiving subject and aesthetic object. This book examines these contradictions – and many others – as they appear by accident and by design in increasingly popular forms of interactive, immersive, and participatory performance in theatre and live art.Borrowing concepts from cognitive philosophy and bringing them into a conversation with critical theory, Gareth White sharply examines meaning as a process that happens to us as we are engaged in the problems and negotiations of a participatory performance.This study will be of great interest to scholars and students of theatre and performance, intermedial arts and games studies, and to practising artists.

Applied Theatre: Aesthetics re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses. The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems.

Applied Theatre: Aesthetics re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses. The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems.

When Flick and Joey spot a poster asking for help to find a 'mysterious lost box', their ordinary day takes a dangerous turn, plunging them into a magical world beneath their school: Shinglepits High.As they soon discover, below their home city of Edinburgh lies a powerful river of magic, known as a 'Ley Line', which is set to wreak havoc when it transforms a pile of forgotten books into a tiny yeti, a miniature alien... and a full-sized evil witch with a thirst for misery.Will they solve the clues and find the mystery box in time?Find out in this exciting mystery adventure, full of friendship, bravery, and imagination. All you have to do is turn the first page...