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The Moving Image in the Theatre THE MOVING IMAGE IN THE THEATRE CONTEMPORARY SCHOLARSHIP AND THE COMBINATION OF FILM AND THEATRE GRAMMARS IN THE THEATRICAL EVENT PHD THESIS NIKOLAUS JACEK MORRIS THEATRE, FILM & TELEVISION MAY, 2011 WORD COUNT: 75,625 (86,224 WITH APPENDIX) TABLE OF CONTENTS FRONT MATTER List of illustrations - p. v List of abbreviations - p. v Acknowledgment - p. vi Declaration - p. vii Abstract -p. viii THE MOVING IMAGE IN THE THEATRE: CONTEMPORARY SCHOLARSHIP AND THE COMBINATION OF FILM AND THEATRE GRAMMARS IN THE THEATRICAL EVENT Introduction - p. 1 o 1. The Moving Image in the Theatre - p. 1 . History - p. 3 o 2. Survey of Current Scholarship - p. 8 . Theatre and Technology - p. 9 . Multimedia Theatre Practice - p. 13 . Staging the Screen - p. 16 . Theatre and Intermediality Working Group - p. 19 o 3. Problems in the Current Discourse - p. 22 . Intermediality and the 'Meta-Text' - p. 25 . Notation - p. 27 o 4. Methodology - p. 28 . Mediatization - p. 29 . Film and Theatre Language - p. 30 . Creative Motivation - p. 31 . Spectatorship - p. 31 • Chapter 1: The Moving Image as a Cultural Artefact in the Theatre - p. 33 o 1. Theatre Culture and Moving Image Media - p. 33 . Contemporary Theatre in a Moving Image Culture - p. 34 . The Problem of Mechanical Reproduction - p. 37 o 2. Staging the Screen - p. 41 . The Ideology of the Moving Image - p. 42 . The Moving Image in the 'Unmarked' Theatre - p. 45 . Theatre as Hypermedium - p. 48 . Intermediality as a Uroboric Genre - p. 51 . A New Approach - p. 54 o 3. Auslander and the Dominance of the Moving Image - p. 55 . Auslander and the Moving Image in the Theatre -p. 56 . 'Live' - p. 57 . Theatre and 'Liveness' - p. 62 . Simulation and 'Liveness' - p. 67 ii . Theatre and Cultural Economy - p. 72 o 4. A New Methodology - p. 76 . Normative Frames - p. 77 . The Theatrical Key - p. 78 . New Questions - p. 81 • Chapter 2: The Clash of Keys and Languages - p. 82 o 1. Theatre and Film Language - p. 82 . Theatre as a Language - p. 84 . Film Grammar - p. 87 o 2. Theatre Space and the Moving Image - p. 93 . Space in the Theatre -p. 94 . Intermedial Space - p. 95 . Methodology - p. 99 o 3. The Moving Image and McAuley's Taxonomy of Theatre Spaces - p. 100 . Theatre Space - p. 100 . Practitioner Space - p. 103 . Rehearsal Space - p. 105 . Textual Spaces and the Moving Image - p. 106 . 'Presentational Space' and Fictional Spaces - p. 107 o 4. Presence and the Moving Image - p. 110 . The Discourse of Presence - p. 111 . The Three Modes of Presence - p. 116 . Aesthetic Presence and the Moving Image - p. 119 . New Questions - p. 123 • Chapter 3: The Moving Image in Katie Mitchell's Waves (2006) - p. 125 o 1. Questions and Methodology - p. 125 . Mediatization or Synthesis? - p. 127 . The Waves and 'Stream of Consciousness' Technique - p. 129 o 2. Making Waves: Mediatization and Motivation - p. 134 . Early Workshops - p. 136 . Video Design Process - p. 139 . Open Framing - p. 142 . Continuity Grammar - p. 143 . Performance Approaches - p. 145 o 3. Medium and Representation in Waves - p. 151 . 'Auratic Presence' and the Moving Image as a 'Stream' - p. 154 . New Questions - p. 157 • Chapter 4: Spectatorship and the Expressive Moving Image in the Theatre - p. 160 o 1. New Questions and Methodology - p. 160 . Spectating the Moving Image in the Theatrical Key - p. 161 . Responses to the Expressive Elements in Multimedia Theatre - p. 163 . Methodology - p. 165 o 2. Theatre Spectatorship and the Moving Image - p. 166 . Theatre Spectatorship - p. 167 iii . Intermediality and Film Spectatorship - p. 174 o 3. Medium Awareness and the Threshold Stage - p. 181 . Medium Awareness and Disrupting the Moving-Image Frame - p. 182 . The Moving Image as an Environmental Index - p. 184 . The Moving Image in Black Watch (2006) - p. 188 . Seeing Aspects - p. 192 . The Medium Aware Aspect of the Moving Image in the Theatre - p. 194 • Conclusion - p. 197 • Appendix: Interview Transcripts - p. 202 o 1. Mike Gould - 4th February 2010 - p. 202 o 2. Kate Duchene - 9th February 2010 - p. 206 o 3. Paul Ready - 28th May 2010 - p. 212 o 4. Teunkie Van Der Sluijs - 19th April 2010 - p. 215 • Bibliography - p. 219 o Primary Sources - p. 219 . 1. Archive Materials - p. 219 . 2. Interview Materials - p. 219 . 3. Corporate Documents - p. 220 o Secondary Works - p. 220 . 1. Unpublished Research - p. 220 . 2. Audiovisual Materials - p. 220 . 3. Conference Papers - p. 220 . 4. Websites - p. 220 . 5. Newspaper Articles - p. 221 . 6. Journal Articles - p. 223 . 7. Chapters in Books - p. 226 . 8. Books - p. 233 iv LIST OF ILLUSTRATIONS: Figure 1 - Photograph: Attempts on Her Life (Lyttelton Theatre, London, 2007) Director: Katie Mitchell, Video Design: '59 productions'. Reproduced with permission from the National Theatre Archives. - p. 105 Figure 2 - Photograph: Mad Forest (York Theatre Royal Studio, York, 2007) Director: Mary Luckhurst, Video Design: Nikolaus Morris. Reproduced with permission from Nikolaus Morris. - p. 110 Figure 3 - Waves (Cottesloe Theatre, London, 2006) Director: Katie Mitchell, Video design: '59 productions.' Reproduced with permission from the National Theatre Archives. - p. 145 Figure 4 - Photograph: Mad Forest (York Theatre Royal Studio, York, 2007) Director: Mary Luckhurst, Video Design: Nikolaus Morris. Reproduced with permission from Nikolaus Morris. - p. 187 Figure 5 - Photograph: Mad Forest (York Theatre Royal Studio, York, 2007) Director: Mary Luckhurst, Video Design: Nikolaus Morris. Reproduced with permission from Nikolaus Morris. - p. 187 LIST OF ABBREVIATIONS: IFTR - International Federation for Theatre Research TAPRA - Theatre and Performance Research Association TIWG - Theatre and Intermediality Working Group v ACKNOWLEDGMENTS Special thanks go to my supervisor and colleague Professor Mary Luckhurst, whose guidance and friendship over the last few years has been invaluable. I must also thank my tutors at the University of York's department of Theatre, Film and Television who have given me an all- embracing education during my years of research. In particular, Professor Michael Cordner, Professor Duncan Petrie, and Mr John Mateer have guided my development as a scholar and as a director of theatre and film. I am humbled by the support of my fellow PhD researchers and friends Dr Tom Cantrell, Christopher Hogg, Oliver Jones, and Doug Kern. This research has been funded by the Arts and Humanities Research Council, without whom I wouldn't have undertaken this challenging journey. Each year the AHRC provides approximately £112 million from the Government to support research and postgraduate study in the arts and humanities, let's hope that this continues. I must also thank the interviewees who have contributed to my research: Michael Gould, Paul Ready, Kate Duchene and Teunkie van der Sluijs. I am deeply grateful for the support of my family and friends, in particular my mother Helena Morris and my late father Paul Morris, to whom this thesis is dedicated. vi DECLARATION This thesis is a presentation of my original research work. Wherever contributions of others are involved, every effort is made to indicate this clearly, with due reference to the literature, and acknowledgement of collaborative discussions. vii ABSTRACT A host of value judgments are implicit in the rhetoric and methodology of contemporary scholarship relating to the use of the moving image in the live theatre. Human performance is often fetishized in these studies, whilst the moving image is admonished as a contaminant which brings into the theatrical event a host of cultural paraphernalia including a perceived ideology derived from its mediatized code. These problematic assumptions have sustained a self-limiting paradigm of ‘intermediality’ that offers a narrow vocabulary through which to notate contemporary mainstream theatre productions that use video projection, such as Katie Mitchell’s Waves (2006) and the National Theatre of Scotland’s Black Watch (2006). This thesis offers a radical departure from contemporary scholarship by unpicking the logic of the existing discourse to construct a new paradigm that embraces the creative grammars of mainstream theatre and moving image productions. viii INTRODUCTION 1. THE MOVING IMAGE IN THE THEATRE This thesis will engage with the theoretical negotiations required in order to respond effectively to the use of moving image technology in contemporary British and American theatre productions.1 The performances in question incorporate the moving image through a number of technical media including film and video projection, television monitors, and computer displays. When it is delivered into the theatrical mise-en-scène, the moving image is removed from its normative situations of cinema, television, and interactive media; as such, the moving image is both an artefact placed in the theatrical medium, and a medium in itself. This complex situation has led to the description of these events as ‘multimedia’ or ‘intermedial’ performances; suggesting a combination (or contamination) of mediatized systems of representation and live ones.2 As its potential applications in the theatre are numerous, it would be erroneous to state that the moving image is used for any one particular purpose; this is evident in any survey of the historical and contemporary instances in which it has been employed. These instances include the use of the moving image as scenery in the mid-twentieth century work of Thomas Wilfred (1889-1968) in the United States, and the more recent work of designer William Dudley on 1 Claims of cultural
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