{"id":881,"date":"2021-12-07T12:36:39","date_gmt":"2021-12-07T12:36:39","guid":{"rendered":"https:\/\/fredericmartel.com\/?p=881"},"modified":"2022-02-10T17:49:24","modified_gmt":"2022-02-10T17:49:24","slug":"theater-class-zhdk-oct-2017","status":"publish","type":"post","link":"https:\/\/fredericmartel.com\/en\/theater-class-zhdk-oct-2017\/","title":{"rendered":"Theater Class (ZHdK, Oct 2017)"},"content":{"rendered":"

Theater in America<\/strong><\/p>\n

\u2013<\/em>\u00a0General readings\u00a0: Lawrence Levine,\u00a0Highbrow\/Lowbrow, the Emergence of Cultural Hierarchy in America\u00a0<\/em>(Harvard University Press, 1988)\u00a0; Russel Lynes,\u00a0The Lively public : a Social History of the Visual and the Performing Arts in America, 1890-1950\u00a0<\/em>(Harper & Row, 1985)\u00a0; Fr\u00e9d\u00e9ric Martel,\u00a0Mainstream<\/em>\u00a0(2006, in german) and\u00a0Theater<\/em>\u00a0(2006, only in french).<\/p>\n

\u2013 On Joe Papp\u00a0: Helen Epstein,\u00a0Joe Papp, An American Life\u00a0<\/em>(Little, Brown, Boston, 1994)\u00a0; Stuart W. Little,\u00a0Enter Joseph Papp : in search of a new American theater\u00a0<\/em>(Coward, McCann & Geoghegan, 1974).<\/p>\n

\u2013 On Broadway\u00a0: Brooks Atkinson,\u00a0Broadway\u00a0<\/em>(MacMillan, 1970)\u00a0; Robert Emmet Long,\u00a0Broadway, The Golden years\u00a0<\/em>(Continuum, 2001).<\/p>\n

\u2013 US Theater history under Roosevelt\u00a0: Harold Cluman,\u00a0The Fervent Years, the Story of the Group Theatre and the Thirties\u00a0<\/em>(Knopf, 1945)\u00a0; John O\u2019Connor et Lorraine Brown,\u00a0Free, Adult, Uncensored : the Living History of the Federal Theatre Project\u00a0<\/em>(New Republic Books, 1978)<\/p>\n

\u2013 OFF-Broadway\u00a0:\u00a0Stuart W. Little,\u00a0Off-Broadway, the Prophetic Theater\u00a0<\/em>(Delta Books, 1972).<\/p>\n

\u2013 On Theater\u2019s economics\u00a0: William Baumol et William Bowen,\u00a0Performing Arts : the Economic Dilemma, A Study of Problems Common to Theatre, Opera, Music and Dance\u00a0<\/em>(Twentieth Century Fund, 1966)<\/p>\n

\u2013 On Disney in Broadway\u00a0: James Stewart,\u00a0Disney War<\/em>\u00a0(Simon & Schuster, 2005)<\/p>\n

\u2013 On avant-garde theater\u00a0:\u00a0American Avant-Garde Theatre : a History\u00a0<\/em>(Routledge, 2000)\u00a0; David Savran,\u00a0Breaking the Rules : the Wooster Group\u00a0<\/em>(TCG, 1986) ; Richard Foreman,\u00a0Unbalancing Acts : Foundations for a Theater\u00a0<\/em>(Pantheon Books, 1992) ; C. Carr,\u00a0On Edge, Performance at the End of the Twentieth Century\u00a0<\/em>(Wesleyan University Press, 1993)\u00a0; Roselee Goldberg,\u00a0Performance Art : from Futurism to the Present\u00a0<\/em>(Thames & Hudson, 2001).<\/p>\n

\u2013 On diversity\u00a0: Frank Rich,\u00a0Hot Seat : Theater Criticism for the New York Times\u00a0<\/em>(Random House, 1998)\u00a0; Harry J. Elam,\u00a0African-American Performance and Theater History : a Critical Reader\u00a0<\/em>(Oxford University Press, 2001),<\/p>\n

 <\/p>\n

Theater, some plays and participation<\/strong><\/p>\n

\u2022\u00a0Les Damn\u00e9s, Ivon Van Hove<\/a><\/p>\n

\u2022\u00a0my lingerie play<\/a><\/p>\n

 <\/p>\n

Smart Curation and Social Networks<\/strong><\/p>\n

\u2022 Amazon recommendation bias :\u00a0George Packer, New Yorker<\/a><\/p>\n

\u2022 Streaming\u2019s ethics : Alex Ross, \u00ab\u00a0The Classical Cloud<\/a>\u00ab\u00a0, New Yorker.<\/p>\n

\u2022 Spotify : an\u00a0article<\/a>\u00a0on the new Spotify\u2019s algorithm for their \u201cDiscover Weekly\u201d\u00a0: Adam Pasick, \u201cThe magic that makes Spotify\u2019s Discover Weekly playlists so damn good\u201d, Quartz, Dec 21, 2015.<\/p>\n

\u2022 Smart Curation\u2019s more general bibliography :\u00a0bibliography<\/a><\/p>\n

 <\/p>\n

Art and digitalization ; models economics<\/strong><\/p>\n

\u2022 The creative apocalypse that wasn\u2019t :\u00a0study<\/a><\/p>\n

\u2022\u00a0Society 6<\/a><\/p>\n

\u2022\u00a0Bright<\/a><\/p>\n

\u2022\u00a0Sedition<\/a><\/p>\n

\u2022\u00a0Museum of Digital Art (Zurich)<\/a>\u00a0: le curateur est un algorithme (the curator is the machine).<\/p>\n

\u2022 Twitter :\u00a0Archillect<\/a><\/p>\n

\u2022\u00a0Instapoets\u00a0<\/a>\u00a0: exemples\u00a0Tyler Knott Gregson<\/a>\u00a0(US) : 305.000 followers ;\u00a0Lang Leav (291.000)<\/a><\/p>\n

\u2022 Tumblr :\u00a0Tyler Knott Gregson\u00a0<\/a>;<\/p>\n

\u2022 Lectures collectives\u00a0Infinite Summer<\/a>\u00a0(Infinite Jest<\/em>\u00a0by David Foster Wallace)<\/p>\n

 <\/p>\n

Book Tubers<\/strong><\/p>\n

\u2022 Jackson Bird\u00a0YouTube Channel<\/a><\/p>\n

\u2022 Jackon Bird :\u00a0Harry Potter<\/a>\u00a0(The Harry potter alliance for minimum wage)<\/p>\n

\u2022\u00a0Mathias GB (Argentina)<\/a><\/p>\n

\u2022\u00a0The Readables<\/a><\/p>\n

\u2022\u00a0Kat O\u2019 Keeffe<\/a><\/p>\n

 <\/p>\n

Other examples of arts and digitalization (other than in theater)<\/strong><\/p>\n

\u2013 San Francisco Symphony Orchestra :\u00a0Keeping Score<\/a><\/p>\n

\u2013 An example of digital art radio show (Pompidou Center\/Beaubourg\/France Culture) : here the\u00a0podcast<\/a>\u00a0; here the\u00a0article<\/a>.<\/p>\n

\u2013 Other social networks : China :\u00a0Weibo<\/a>\u00a0;\u00a0Renren ;\u00a0<\/a>Russia :\u00a0\u00a0Vkontakte ;\u00a0<\/a>Argentina :\u00a0Taringa<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Theater in America \u2013\u00a0General readings\u00a0: Lawrence Levine,\u00a0Highbrow\/Lowbrow, the Emergence of […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[54],"tags":[],"_links":{"self":[{"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/posts\/881"}],"collection":[{"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/comments?post=881"}],"version-history":[{"count":1,"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/posts\/881\/revisions"}],"predecessor-version":[{"id":882,"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/posts\/881\/revisions\/882"}],"wp:attachment":[{"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/media?parent=881"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/categories?post=881"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fredericmartel.com\/en\/wp-json\/wp\/v2\/tags?post=881"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}