Broke House by the Big Art Group: Queer Transgressions on the Contemporary New York Stage
The Big Art Group has joined the New York performance scene since 1999, exploring primarily with the effects of multimedia on stage. They developed acting techniques combined with video, called Real Time Film, offering fresh questions about performing in the 21st century. In Broke House (2012), Jemm...
Сохранить в:
| Опубликовано в: : | URI:https://journals.openedition.org/angles, |
|---|---|
| Главный автор: | |
| Формат: | Article ou chapitre numérique |
| Язык: | Anglais |
| Опубликовано: |
Angles
2020
|
| Предметы: | |
| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
openedition-oai:revues.org:angles_1910 |
|---|---|
| record_format |
openedition |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
représentation États-Unis technologie corps performance théâtre études culturelles multimedia queer écran camp Big Art Group phénoménologie representation United States technology body performance theatre cultural studies screen camp Big Art Group multimedia queer phenomenology |
| spellingShingle |
représentation États-Unis technologie corps performance théâtre études culturelles multimedia queer écran camp Big Art Group phénoménologie representation United States technology body performance theatre cultural studies screen camp Big Art Group multimedia queer phenomenology Lemoine, Xavier Broke House by the Big Art Group: Queer Transgressions on the Contemporary New York Stage |
| description |
The Big Art Group has joined the New York performance scene since 1999, exploring primarily with the effects of multimedia on stage. They developed acting techniques combined with video, called Real Time Film, offering fresh questions about performing in the 21st century. In Broke House (2012), Jemma Nelson, Caden Manson and their actors continue the exploration on the meaning of the body by mixing two plots and modes of representation. The show, based on improvisations around Chekhov’s Three Sisters and a documentary film, among other things, derails normative codes of reception and helps us question the instability of the meaning of the body, which is criss-crossed by shifting epistemologies. The result is a performance that stages fluxes of non-normative desires constantly oscillating between embodied subjectivities and evanescent illusions of the body. The powerful visual quality of the play, enhanced by huge screens, clashes with the makeshift scenery and hyperreal acting in order to reveal the violence that underpins the redefinition of the body on stage in our neoliberal, digital age. By looking closely at the structure of the piece and its scenography, I chart how the flesh and the digital interact through cinematic and theatrical tricks. Further, I highlight how the Group delineates a corporeality embroiled in social, esthetic, and phantasmatic structures and patterns by arguing that they deploy new forms of queer representations. Ultimately, I want to suggest how a phenomenology of the technological body helps grasp how the theatrical corporeality becomes illusory and elusive through queer technology and queer camp practices. |
| author |
Lemoine, Xavier |
| author_facet |
Lemoine, Xavier |
| author_sort |
Lemoine, Xavier |
| title |
Broke House by the Big Art Group: Queer Transgressions on the Contemporary New York Stage |
| title_short |
Broke House by the Big Art Group: Queer Transgressions on the Contemporary New York Stage |
| title_full |
Broke House by the Big Art Group: Queer Transgressions on the Contemporary New York Stage |
| title_fullStr |
Broke House by the Big Art Group: Queer Transgressions on the Contemporary New York Stage |
| title_full_unstemmed |
Broke House by the Big Art Group: Queer Transgressions on the Contemporary New York Stage |
| title_sort |
broke house by the big art group: queer transgressions on the contemporary new york stage |
| publisher |
Angles |
| publishDate |
2020 |
| container_title |
URI:https://journals.openedition.org/angles |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/angles.1910 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/angles/1910 |
| _version_ |
1877293948549988352 |
| spelling |
openedition-oai:revues.org:angles_1910 https://doi.org/10.4000/angles.1910 urn:doi:10.4000/angles.1910 en https://journals.openedition.org/angles/1910 2020-07-16T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/9n0l https://creativecommons.org/licenses/by/4.0/ Broke House by the Big Art Group: Queer Transgressions on the Contemporary New York Stage Angles Société des Anglicistes de l'Enseignement Supérieur info:eu-repo/semantics/reference/issn/2274-2042 URI:https://journals.openedition.org/angles Lemoine, Xavier représentation États-Unis technologie corps performance théâtre études culturelles multimedia queer écran camp Big Art Group phénoménologie representation United States technology body performance theatre cultural studies screen camp Big Art Group multimedia queer phenomenology The Big Art Group has joined the New York performance scene since 1999, exploring primarily with the effects of multimedia on stage. They developed acting techniques combined with video, called Real Time Film, offering fresh questions about performing in the 21st century. In Broke House (2012), Jemma Nelson, Caden Manson and their actors continue the exploration on the meaning of the body by mixing two plots and modes of representation. The show, based on improvisations around Chekhov’s Three Sisters and a documentary film, among other things, derails normative codes of reception and helps us question the instability of the meaning of the body, which is criss-crossed by shifting epistemologies. The result is a performance that stages fluxes of non-normative desires constantly oscillating between embodied subjectivities and evanescent illusions of the body. The powerful visual quality of the play, enhanced by huge screens, clashes with the makeshift scenery and hyperreal acting in order to reveal the violence that underpins the redefinition of the body on stage in our neoliberal, digital age. By looking closely at the structure of the piece and its scenography, I chart how the flesh and the digital interact through cinematic and theatrical tricks. Further, I highlight how the Group delineates a corporeality embroiled in social, esthetic, and phantasmatic structures and patterns by arguing that they deploy new forms of queer representations. Ultimately, I want to suggest how a phenomenology of the technological body helps grasp how the theatrical corporeality becomes illusory and elusive through queer technology and queer camp practices. Depuis 1999, la troupe newyorkaise Big Art Group explore principalement l’impact de la performance multimédia sur la scène théâtrale. Elle a plus particulièrement développé un travail sur le jeu de l’acteur et son rapport à la vidéo grâce à leur technique du Tournage en Temps Réel, en posant de nouvelles questions sur la pratique des arts de la scène au XXIème siècle. Dans Broke House (2012), Jemma Nelson, Caden Manson et leurs comédiens prolongent leur exploration des significations du corps en mêlant deux intrigues et deux modes de représentation. Ce spectacle, créé à partir d’improvisations autour des Trois sœurs de Tchekhov et d’un film documentaire, fausse les codes normatifs de la réception et nous permet de nous interroger sur l’instabilité des significations d’un corps traversé par des mutations épistémologiques. Il en résulte un travail qui met en scène les flux de désirs non-normatifs oscillant entre l’incarnation de subjectivités multiples et d’une corporalité illusoire et évanescente. La puissante qualité visuelle de cette pièce, magnifiée par les gigantesques écrans sur scène, se heurte à un décor fait de bric et de broc et au jeu hyperréaliste des acteurs afin de mettre au jour la violence implicite qui préside à la redéfinition du corps scénique à l’ère digitale et néolibérale. Ainsi en m’intéressant plus particulièrement à la structure et à la scénographie de ce spectacle, je tente de cartographier la façon dont la chair et le numérique interagissent à travers des procédés cinématographiques et théâtraux. En outre, je cherche à éclairer dans quelle mesure la troupe dessine les contours d’une corporalité embranchée dans les écheveaux sociaux, esthétiques et fantasmatiques grâce au déploiement des nouvelles représentations queer. En dernier ressort, je tiens à suggérer comment une phénoménologie du corps technologisé aide à saisir la façon dont la corporéité scénique devient illusoire et insaisissable à travers une pratique camp et technologique du queer. |