Intermediality and Spectatorship in the Theatre Work of Robert Lepage : The Solo Shows.

Intro -- Table of Contents -- List of illustrations -- Foreword -- Introduction -- Short Outline of International Research -- The Concept of Distance in Theatre -- The Remediation of Theatre -- Hypothesis and Integration of Research -- Chapter One -- 1.1. Robert Lepage and the Québécois Context -- 1.1.1. The Québécois Theatrical Context and its Development -- 1.1.2. Robert Lepage's Formation -- 1.1.3. The Emancipation of Québécois Theatre -- 1.1.4. Théâtre Repère and the Repère/RSVP Cycles -- 1.1.5. Ex Machina and its Relationship with the Québécois Identity -- 1.2. Lepage's Method of Creation -- Chapter Two -- 2.1. The Concept of Intermediality -- 2.2. Intermediality and Theatre as a Medium -- 2.3. Intermediality and Spectatorship in Contemporary Performance -- 2.4. The Intermediality in Robert Lepage's Original Theatre Work -- Chapter Three -- 3.1. Audience and Spectatorship in Theatre Studies -- 3.2. Spectatorship in Media Studies -- 3.3. Spectatorship in Robert Lepage's Theatre Work -- Chapter Four -- Vinci -- Needles and Opium -- Elsinore -- The Far Side of the Moon -- The Andersen Project -- Conclusion -- Conclusion -- Appendix A -- Appendix B -- Bibliography.

Robert Lepage has imposed himself in the past three decades as a Wunderkind of contemporary theatre, with eagerly awaited and widely acclaimed productions at the most prestigious theatre festivals and venues around the world. Soon after his international breakthrough with The Dragon's Trilogy (1984), Lepage's work became an object of particular scrutiny for critics and scholars, and continues to be subject to media exposure, inspiring cultural critique, academic study and the admiration of audiences across the world. A recurrent fascination with the formal novelty of his theatrical approach imbues most, if not all, critical considerations. However, in spite of the wide interest provoked, little space has been devoted to the quintessential impact of his work on spectatorship, and, most importantly, to connecting the dots between his creative practice and its substantial impact on audiences. Intermediality and Spectatorship in the Theatre Work of Robert Lepage bridges this gap by exploring the notion that intermediality - observed both as a mise-en-scene strategy and a perceptual effect in performance - is situated at the core of the director's approach. This approach is situated in direct relation to the evolving expectations and medial competencies of spectators, demonstrating an in-depth understanding of the ways in which different media can be engaged in the creative process in a holistic way in order to alter the regime of spectatorship, to enhance its creative and cognitive potential. Lepage's work and theatre making process are analysed here from an interdisciplinary perspective that combines theatre, media and cultural studies, and which is applied to his solo shows, namely Vinci (1986), Needles and Opium (1991), Elsinore (1995), Far Side of the Moon (2000) and Project Andersen (2005). In bringing to the forefront interconnecting notions of

intermediality and contemporary spectatorship, the book highlights the director's preoccupation with an ongoing dialogue with audiences across the world, and their particular involvement in the development of one of the most innovative practices of the Western theatre landscape.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.