Wired Brains and Living Networks: Simon McBurney’s Micropoetics, from Mnemonic to The Encounter.
In The Encounter, Simon McBurney uses binaural technology to recreate the vast Amazonian forest, while reducing the set to a desk, a chair, and a microphone. This study suggests that Complicite’s immersive production is built on a performative contradiction, combining visual distance with auditory i...
| Publicado en: | Contemporary Theatre Review Vol. 27; no. 4; pp. 497 - 512 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
2017
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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=126866914&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 126866914 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10486801 7VS jtl: Contemporary Theatre Review issn: 10486801 maglogo: N pubinfo: dt: 2017 vid: 27 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 126866914 10.1080/10486801.2017.1365290 ppf: 497 ppct: 15 formats: fmt: – @attributes: type: T – @attributes: type: P size: 159KB tig: atl: Wired Brains and Living Networks: Simon McBurney’s Micropoetics, from Mnemonic to The Encounter. aug: au: Campos, Liliane su: Encounter, The (Theatrical production) Mnemonic (Theatrical production) Complicite (Performer) Theater sound designers & design Spacetime Immersive design sug: subj: Encounter, The (Theatrical production) Mnemonic (Theatrical production) Complicite (Performer) Theater sound designers & design Spacetime Immersive design ab: In The Encounter, Simon McBurney uses binaural technology to recreate the vast Amazonian forest, while reducing the set to a desk, a chair, and a microphone. This study suggests that Complicite’s immersive production is built on a performative contradiction, combining visual distance with auditory intimacy in order to disrupt theatrical scale. These switches in scale are linked to the company’s previous micropoetics, arguing that The Encounter enacts technologically the search for connectivity that was previously explored metaphorically through neurobiology, mathematics, and particle physics in Mnemonic and A Disappearing Number. A comparative approach reveals the company’s development of an organicist aesthetics over the years, which finds its metaphorical roots in the scale-dependent paradigms of contemporary science, and construes microscopic environments as mirror images of the macro-environment. Because it employs the network as both a concrete tool and a cognitive paradigm,The Encounter effectively enacts the neurological substrate of the company’s work. It also offers a new experiment in theatrical perception: the way McBurney plays with the ‘grain’ size of our perception of time creates a unique experience,in which multiple resolutions coexist on stage. This show confirms several key features of Complicite’s organicism: a search for coherence which feeds on biological images, yet plays with scale to connect the microscopic to the environmental, and the individual to the group. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Theatre Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Theatre Review holder: Taylor & Francis Ltd dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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