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List of Illustrations
List of Tables
List of Contributors
Acknowledgements

1. Documenting Performance: An Introduction

Part I: Documenting Performance in a Digital Curation Context
2. Performing Arts and Their Memories
3. Description Models for Documenting Performance
4. Intellectual Property Matters for Documenting Performance: Challanges and Current Trends
5. Expanding Documentation, or making the most of the 'Cracks in the wall'

Part II: Ways of Documenting
6. Remembering Performance Through the Practice of Oral History
7. Translating Performance: desire, intention and interpretation in photographic documents
8. Documenting Audience Experience: Social Media as Lively Stratification
9. Web Archiving and Participation: the future history of performance?
10. Documenting Digital Performance Artworks

Part III: Documenting and Archiving
11. Paradocumentation and NT Live's 'CumberHamlet'
12. Archiving Shakespeare and Thinking Virtually in a Distracted Globe
13. From Copper-Plate Inscriptions to Interactive Websites: Documenting Javanese Wayang Theatre
14. Documenting Music Performance in the Western Australian New Music Archive
15. Participation and Presence: Propositional Frameworks for Engaging Users in the Design of the Circus Oz Living Archive

Part IV: Documenting Bodies in Motion
16. What do we document? Dense video and the epistemology of practice
17. The Pleasures of Writing about the Pleasures of the Practice: Documenting Psychophysical Performer Training
18. Dance Archival Futures: Embodied Knowledge and the Digital Archive of Dance
19. Documenting Dance: Tools, Frameworks and Digital Transformation

Notes
Bibliography
Index

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Documenting performance : the context and processes of digital curation and archiving 이용현황 표 - 등록번호, 청구기호, 권별정보, 자료실, 이용여부로 구성 되어있습니다.
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알라딘제공
Performance in the digital age has undergone a radical shift in which a once ephemeral art form can now be relived, replayed and repeated. Until now, much scholarship has been devoted to the nature of live performance in the digital age; Documenting Performanceis the first book to provide a collection of key writings about the process of documenting performance, focused not on questions of liveness or the artistic qualities of documents, but rather on the professional approaches to recovering, preserving and disseminating knowledge of live performance.

Through its four-part structure, the volume introduces readers to important writings by international practitioners and scholars on:
* the contemporary context for documenting performance
* processes of documenting performance
* documenting bodies in motion
* documenting to create

In each, chapters examine the ways performance is documented and the issues arising out of the process of documenting performance. While theorists have argued that performance becomes something else whenever it is documented, the writings reveal how the documents themselves cannot be regarded simply as incomplete remains from live events. The methods for preserving and managing them over time, ensuring easy access of such materials in systematic archives and collections, requires professional attention in its own right. Through the process of documenting performance, artists acquire a different perspective on their own work, audiences can recall specific images and sounds for works they have witnessed in person, and others who did not see the original work can trace the memories of particular events, or use them to gain an understanding of something that would otherwise remain unknown to them and their peers

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