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The dynamic performing arts archive the ideal program2

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Transcript

  • 1. Keeping the Performance Alive
    Dynamic Performing Arts Archives that Include the Audience
  • 2. Nature of Performing Arts
    Dynamic Audience Live
    Evolving
    Unique
    Unique
    Interaction
    Continuing dialogue
    Momentary
  • 3. To archive or not to archive?
    No
    Authoritative accounts
    The archive is frozen
    Best kept in our memories
    An imposition of power
    Yes
    Their cultural and historical significance
    Archive does not have to be a substitute or a perfect representation
  • 4. Solution: Honor the Performing Arts in the Archive
    Reuse
    By public
    By practitioners
    By scholars/researchers and students
    Programming
    Exhibitions
    Workshops
    Lectures
    Screenings
    Readings
    Performances
    Audience
    Web 2.0
    • Interviews
    • 5. Videos of audience
    • 6. Online forums for discussion
    • 7. Databases of user contributions
    • 8. Digitized collections
    • 9. Multimedia
    • 10. Interaction
    • 11. Relationships
  • The Ideal Ingredients
    For creating a dynamic, living performing arts archive
  • 12. Promotion
    Promote awareness and use of the archive
    • Publish
    • 13. Research Initiatives
    • 14. News Articles
    • 15. Go to practitioners and tell them about your services
    • 16. Make sure that you, your website, and your facilities are welcoming and usable
  • Programming
    “If its existence is not known, if it does not coexist with the city, the people, the scholars . . . It is a dead archive.”
  • Be Proactive
    “. . . A concerted effort needs to be made, while the performance is created and executed, to document as much as possible of it and to preserve the materials that the performance generates . . . it is a primary concern of repositories to actively promote or contribute to the documentation of performance.”
    “Information professionals cannot be passive, because, in theater, sources need to be actively created and sought, otherwise they easily disappear or they do not even come into existence.”
    -Francesca Marini
    • Actively collect materials
    • 22. Interview audience members
    • 23. Interview/perform oral histories with practitioners
  • Website
    Transcend the confines of archive on the Web.
    Interface
    Usability
    Features
    • Digitized collections
    • 24. Multimedia
    • 25. Show relationships
    • 26. Interactivity/ allow comments
  • Website
    Transcend the confines of archive on the Web.
    Interface
    Usability
    Features
    • Digitized collections
    • 27. Multimedia
    • 28. Show relationships
    • 29. Interactivity/ allow comments
    Each name is linked to a list of other productions that person was associated with.
    Movies include multiple performances and rehearsals
  • 30. Website
    Features, continued
    • User input
    • 31. Ask for audience interpretations, reactions, opinions, emotions
    • 32. Materials – photos, programs (that the archive doesn’t have)
    • 33. Videos, blog, entries, etc. could be embedded or added to link lists
  • Website
    Features, continued
    • User input
    • 34. Ask for audience interpretations, reactions, opinions, emotions
    • 35. Materials – photos, programs (that the archive doesn’t have)
  • Website
    Features, continues
    • Interactivity
    • 36. Comments
  • “The archive only has a legacy by living on.”
    -Jones, Abbott, and Ross