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Time-space transfiguration and the u...

Ebrahimian, Babak A.

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Time-space transfiguration and the unfolding of the (frame);: (A theory of Filmtheatre).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Time-space transfiguration and the unfolding of the (frame);: (A theory of Filmtheatre)./
作者:	Ebrahimian, Babak A.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1995,
面頁冊數:	249 p.
附註:	Source: Dissertation Abstracts International, Volume: 56-10, Section: A, page: 3795.
Contained By:	Dissertation Abstracts International56-10A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9602869

Time-space transfiguration and the unfolding of the (frame);: (A theory of Filmtheatre).
Ebrahimian, Babak A.

Time-space transfiguration and the unfolding of the (frame);: (A theory of Filmtheatre). - Ann Arbor : ProQuest Dissertations & Theses, 1995 - 249 p.

Source: Dissertation Abstracts International, Volume: 56-10, Section: A, page: 3795.

Thesis (Ph.D.)--Stanford University, 1995.

This dissertation project is about experimentation aiming at a new form of theatre--the Filmtheatre. Far from being original however, this project is hyper-mimetic: it imitates the best of both art forms (of film and theatre) and synthesizes the two into a single form. As other combined theatre forms--such as "Tanztheater" (Dancetheatre), or "Musictheatre," or "Theatre of Images"--already exist, the notion of "Filmtheatre" as a genre is a possibility. As a genre, the Filmtheatre forces the theatre to imitate the cinema and it invites the cinema to join the theatre so as to combine and create a cinematic stage.Subjects--Topical Terms:

522973
Theater.

Time-space transfiguration and the unfolding of the (frame);: (A theory of Filmtheatre).
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245 1 0 $a Time-space transfiguration and the unfolding of the (frame);: (A theory of Filmtheatre).
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300 $a 249 p.
500 $a Source: Dissertation Abstracts International, Volume: 56-10, Section: A, page: 3795.
500 $a Adviser: Rene Girard.
502 $a Thesis (Ph.D.)--Stanford University, 1995.
520 $a This dissertation project is about experimentation aiming at a new form of theatre--the Filmtheatre. Far from being original however, this project is hyper-mimetic: it imitates the best of both art forms (of film and theatre) and synthesizes the two into a single form. As other combined theatre forms--such as "Tanztheater" (Dancetheatre), or "Musictheatre," or "Theatre of Images"--already exist, the notion of "Filmtheatre" as a genre is a possibility. As a genre, the Filmtheatre forces the theatre to imitate the cinema and it invites the cinema to join the theatre so as to combine and create a cinematic stage.
520 $a In the context of our cultural condition today--where films, television, images, virtual reality, and the hyperreal dominate the mass culture--the idea of Filmtheatre is not so radical. Such being the case, this dissertation project asks: how can the theatre be brought closer to the cinema? How can the stage be made to look like films? How can a cinematic stage be made? How can a theatre that is almost like cinema in form and aesthetics--a so-called Filmtheatre--be constructed? These questions are the primary concerns explored and examined in this thesis.
520 $a In form, Filmtheatre is primarily a theatre of images, sound, and distancing. Yet it goes a step further, beyond mere images and sounds, in that it incorporates film theories and techniques to define its structure, form, and aesthetics. In its simplest definition, Filmtheatre is a theatre which has a filmic structure and a stage which functions (and performs) as if it were a film. It is a theatre with a film form and a cinematic stage. In other words, the Filmtheatre has a space which--screened, framed, and distanced--contains a stage which looks, sounds, and behaves (functions) as if it were the cinema. Behind this definition, there are two primary theoretical principles which govern and define its form and structure: (i) the montage theory (both "montage of attraction" as well as the "vertical montage") as first defined and developed by Sergei M. Eisenstein and (ii) spatial and perceptual distancing. Not robbing theatre of its essence, the immediate life which it has on stage, these two principles when applied together redefine and reinterpret the theatre stage-functions according to the cinema--thus transfiguring the theatre time and space into a Filmtheatre with its unfolded frame--the cinematic stage.
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