The dynamic performing arts archive the ideal program2


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The dynamic performing arts archive the ideal program2

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