Absence, Presence, Indexicality: The Mise en Scèene of 'the Heart of Neolithic Orkney'.
I sketch those characteristics of the mise en scène at the Ring of Brodgar stone circle and associated sites that might solicit within the visitor something like a dynamic performance. Drawing on surrealism, Robert Smithson and archaeology, I argue that themise en scène at Brodgar -- and the visitor...
| Publicado en: | Theatre Research International Vol. 42; no. 1; pp. 72 - 91 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Mar2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=122147540&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 122147540 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03078833 TRS jtl: Theatre Research International issn: 03078833 maglogo: N pubinfo: dt: Mar2017 vid: 42 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 122147540 10.1017/S0307883317000074 ppf: 72 ppct: 19 formats: tig: atl: Absence, Presence, Indexicality: The Mise en Scèene of 'the Heart of Neolithic Orkney'. aug: au: MARSHALL, JONATHAN W. su: Surrealism History of archaeology Spacetime World Heritage Sites Monuments sug: subj: Surrealism History of archaeology Spacetime World Heritage Sites Monuments ab: I sketch those characteristics of the mise en scène at the Ring of Brodgar stone circle and associated sites that might solicit within the visitor something like a dynamic performance. Drawing on surrealism, Robert Smithson and archaeology, I argue that themise en scène at Brodgar -- and the visitor's response to it -- is characterized by a sense of presence which exists in a dialectical tension with the perception of that which is absent. Brodgar is indexical (like a photograph) and hauntological, in semiotic terms. The Neolithic site is, at some level, unknowable. The visitor becomes aware of coincident yet incompatible manifestations of time and space (heterochronia) and imagines the potential return of unknown, cryptic ritual performances (metatheatre). This solicits within the viewer something akin to Max Erns's model of frottage. As Breton put it, 'The imaginary ... tends to become real'. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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