Please use this identifier to cite or link to this item: http://buratest.brunel.ac.uk/handle/2438/10651
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dc.contributor.authorMachon, J-
dc.date.accessioned2015-04-24T12:11:05Z-
dc.date.available2007-08-
dc.date.available2015-04-24T12:11:05Z-
dc.date.issued2007-
dc.identifier.citationBody, Space, & Technology. Volume 8, 2007en_US
dc.identifier.issn1470-9120-
dc.identifier.urihttp://people.brunel.ac.uk/bst/vol08/home.html-
dc.identifier.urihttp://bura.brunel.ac.uk/handle/2438/10651-
dc.description.abstractMy intention with this paper is to discuss the work of Punchdrunk, founded by Felix Barrett, with particular reference to Faust (2006-7), Punchdrunk’s most recent event that enjoyed a run at Wapping Lane, supported by the National Theatre. In doing so I will apply ‘(syn)aesthetics’, my appropriation of this term, as a theory which embraces both practice and analysis in order to show how the ‘(syn)aesthetic style’ identifies a particular, exciting contemporary performance practice exemplified by Punchdrunk’s work. Furthermore, I hope to show that (syn)aesthetics, as an interpretative device, is a vital mode of appreciation to analyse such work.en_US
dc.language.isoenen_US
dc.publisherBody, Space & Technology Journalen_US
dc.subject(syn)aestheticsen_US
dc.subjectPunchdrunken_US
dc.subjectInterpretative deviceen_US
dc.subjectPerformanceen_US
dc.titleSpace and the senses: the (syn)aesthetics of Punchdrunk's site-sympathetic worken_US
dc.title.alternativeMay 2007: 'Space and the Senses: the (syn)aesthetics of Punchdrunk's site-sympathetic work', . Brunel University Centre for Contemporary and Digital Performance.en_US
dc.typeArticleen_US
pubs.organisational-data/Brunel-
pubs.organisational-data/Brunel/Leavers-
Appears in Collections:Dept of Arts and Humanities Research Papers

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