Music, Miles Davis, and Theatricality

Nicholas Gebhardt; Richard Rushton

Music, Miles Davis, and Theatricality

Nicholas Gebhardt
, Richard Rushton

Lancaster University

Research output: Chapter in Book/Report/Conference proceeding › Chapter › peer-review

Original language	English
Title of host publication	Theatricality and the Arts
Subtitle of host publication	Film, Theatre, Art
Editors	Andrew Quick, Richard Rushton
Place of Publication	Edinburgh
Publisher	Edinburgh University Press
Chapter	11
Pages	201-219
Number of pages	19
ISBN (Electronic)	9781399511681
ISBN (Print)	9781399511650
Publication status	Published (VoR) - 1 Apr 2024

Other files and links

This is the first book collection to consider the notion of theatricality across a range of fields (art, film, theatre, multimedia, photography, music). The collection engages with a wide range of case studies, examples of which include: theatre productions by Forced Entertainment, Daniel Kitson, She Pop, and Agnieszka Piotrowska art works by Rembrandt, Damien Hirst, Anish Kapoor, and others internet works of art by Trecartin and Fitch, Hannah McPherson, as well as examples of ‘live’ networked art productions films by Peter Greenaway, Spike Lee and Pedro Almodóvar philosophical approaches to theatricality drawing on works by Immanuel Kant, Martin Heidegger, Stanley Cavell and Jacques Derrida Theatricality and the Arts presents a series of investigations of the notion of ‘theatricality’. Primarily, theatricality concerns that which pertains to theatre, but the term has always carried with it the potentially pejorative associations of exaggeration and fakery. The essays here question and contest such associations. The book is divided into four sections which together provide a comprehensive interrogation of theatricality. The four sections begin with multimedia, where theatricality is examined in relation to mixed modes of media (internet art, painting, performance and digital display). A second section takes a philosophical approach to questions of theatricality. A third section looks at art, broadly speaking, but also at the historical contexts of art, photography and other media (literature, film, music). A final section features reflections on theatre and cinema, often in conjunction. Considered as a whole, the collection contributes to debates on theatricality in various fields, while also enabling a cross-examination of approaches to the topic.
https://www.open-access.bcu.ac.uk/15522/

Cite this

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