Overview

How do we experience theatre through film? Laura Sava critically engages with the filmic representation of theatre, focusing on a selection of art house and independent films which provide a sophisticated commentary on the interaction between the two media. Through an in-depth analysis of films such as Jacques Rivette's L'Amour fou, Pedro Almodvar's All About My Mother and Charlie Kaufman's Synecdoche, New York, this book analyses the embedment of theatre in film and the notion of spectatorial address. Using textual analysis in conjunction with concepts derived from narratology, performance philosophy, and film and theatre phenomenology, it explores the mechanisms of representation involved in the intermedial diegetisation of theatre in film.

Full Product Details

Author:   Laura Sava (Lecturer in Film Studies, Xi’an Jiatong-Liverpool University)
Publisher:   Edinburgh University Press
Imprint:   Edinburgh University Press
Weight:   0.384kg
ISBN:  

9781474484282

ISBN 10:   147448428
Pages:   256
Publication Date:   26 May 2021
Audience:   Professional and scholarly ,  College/higher education ,  Professional & Vocational ,  Postgraduate, Research & Scholarly
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

Acknowledgments List of illustrations Introduction: Accommodating Difference: The Filmic Representation of Theatre Part I: Theatre, Interrupted: Strategies of Intermedial Embedment Chapter 1: No Strings Attached: Framing Puppets in Movement 1.1 The Double Life of Véronique and the Theatrical Mise en Abyme 1.2 Dolls: Theatrical Bracketing and Filmic Distortion Chapter 2: Theatre, Memory, and the Framing Voice 2.1. The Jester: Competing Voices in Alternating Scenes 2.2. All About My Mother: Filmic and Theatrical Repetitions Chapter 3: The Making and Unmaking of Theatre Rehearsals on Screen 3.1. Theatre in Multiple Frames: L’Amour fou and the Self-Defeating Rehearsal 3.2. Synecdoche, New York: Film and Theatre as Mutually Contaminating Worlds Part II: Divided Attention: Intermedial Performers and their Split Audience Chapter 4: Spectatorship by Proxy Meets Multimodal Performance 4.1. Subversive Performances and Sonic Perspectives in Opening Night 4.2. Conspicuous Camera and Utopian Spectatorship in A Tale of Winter 4.3. Exit the Actor: Restrained Performances and the View from the Wings in I’m Going Home Chapter 5: Cinematic Monologues and Their Spectatorial Address 5.1. The Travelling Players and the Historical Monologue 5.2. ‘Something to do with living’: My Dinner with André and the Ekphrastic Duologue 5.3. Spalding Gray and the Autobiographical Monologue 5.4. The Arbor and the Unreliable Monologue Epilogue Bibliography Index

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Author Information

Dr Laura Sava is Assistant Professor of Film Studies at Xi’an Jiaotong-Liverpool University, China. She is the author of Theatre Through the Camera Eye (2019, EUP).

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