Two-fold Origin: Performing Hybrids between Theatre and Media

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Notes

1. According to Jean Clair's study in literature and art, Medusa can be seen as a figuration for discontinuity in times of crisis and restlessness. Jean Clair, Méduse: Contribution à une anthropologie des arts du visuel (Paris: Gallimard, 1989).

2. In the exhibition catalogue Lawrence Malstaf: The Long Now 01997–02008 (Ghent: Galerie Fortlaan 17, 2008). All translations from the Flemish are my own.

3. Fredric Jameson, Postmodernism, or The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991).

4. Manuel Castells, The Rise of the Network Society (Oxford: Blackwell, 1996).

5. Jameson, Postmodernism, p. 119.

6. W. J. T. Mitchell, Picture Theory (Chicago: University of Chicago Press, 1994), p. 48.

7. On the notion of the term ‘apparatus’ as used here, see Giorgio Agamben, ‘What is an Apparatus’ and Other Essays, trans. by David Kishik and Stefan Pedatella (Palo Alto, CA: Stanford University Press, 2009), p. 11. In a similar vein, the installations effectively transform the audience into the ‘user’ typical of these hybrid performances.

8. Walter Benjamin, Illuminations (New York: Schocken, 1969), pp. 262–63.

9. Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnar, Walter Gropius, The Theater of the Bauhaus, ed. and translated by Arthur S. Wensinger (Middletown, CT: Wesleyan University Press, 1961), p. 17.

10. See Beyond Art: A Third Culture. Art and Science in 20th Century Austria and Hungary, ed. by Peter Weibel (Vienna: Springer, 2005).

11. Ibid., p. 355.

12. Since April 2008, the work of CREW is also featured in 20203DMedia, a large-scale European project focusing on the production and distribution of innovative forms of immersive media. See http://www.20203DMedia.eu, http://crewlab.wordpress.com.

13. Bart Verschaffel, ‘Over theatraliteit’, in Rome/Over theatraliteit (Damme: Laat-20e-eeuwse Genootschap, 1990), p. 36.