ABSTRACT

In the past a typical performance situation consisted of a proscenium stage, performers on the stage and audience seated somewhere in the front. In today’s technological age, audiences are prone to watching performance on their smart devices. This live-disconnect between the audience and performer/performance has affected the industry on multiple levels. The live connection between the performer and the audience was previously a primary motivator to enhance the continuation of the art but this is not the case now. Since 1970 when performers such as Trisha Brown (Rosenberg, 2017) began to move performance into the public space, the idea of the typical proscenium stage lost its dominance and highlighted the need for investigation into alternative means of reaching audiences. One of the ways we (as performing artists) are acknowledging this void in practice pedagogy is studying how site performance engages with different environments, practices and social/cultural systems. In August 2017, Nadra Assaf and Amr Selim along with Al-Sarab Dance Company performed a series of site-specific performances in Lebanon. Investigation of the outcome through use of improvisation as methodology (McLeod, 2010), the lived experience, study of videos of the performance and analysis of interviews (individual and group) is the focus of this paper.

摘要

过去，典型的表演场景是舞台舞台，舞台上的表演者和坐在前面某处的观众。在当今的技术时代，观众倾向于在他们的智能设备上观看表演。观众和表演者/表演之间的这种现场脱节已经在多个层面上影响了该行业。表演者和观众之间的现场联系以前是增强艺术延续性的主要动力，但现在情况并非如此。自从 1970 年 Trisha Brown (Rosenberg, 2017) 等表演者开始将表演带入公共空间以来，典型舞台舞台的概念就失去了主导地位，并突出了对接触观众的替代方式进行调查的必要性。我们（作为表演艺术家）在实践教学法中承认这一空白的方式之一是研究现场表演如何与不同的环境、实践和社会/文化系统互动。2017 年 8 月，Nadra Assaf 和 A​​mr Selim 与 A​​l-Sarab 舞蹈团在黎巴嫩进行了一系列特定地点的表演。通过使用即兴创作作为方法（McLeod，2010）、生活经验、表演视频研究和访谈分析（个人和团体）对结果进行调查是本文的重点。