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Les collections des arts du spectacle et leur traitement- Performing Arts Collections and Their Treatment

Congrès de Rome SIBMAS (2002)- SIBMAS Congress in Rome (2002)

Edited By Nicole Leclercq, Kristy Davis and Maria Teresa Iovinelli

Comment se compose la mémoire du spectacle ? Les bibliothèques et les musées s’attachant à l’entretenir ont parfois du mal à contenir une matière aussi multiforme. Chaque collection a son histoire, chaque institution a dû faire face à diverses difficultés. Dans cette mission, la technologie peut contribuer à approfondir la mémoire du spectacle et à élargir virtuellement à l’infini les espaces qui l’accueillent. Le congrès de la SIBMAS qui s’est tenu à Rome en 2002 témoignait d’une étape dans la réflexion suscitée par l’utilisation des nouvelles technologies dans les bibliothèques et les centres d’archives. Cet ouvrage en présente les communications.
How is the memory of a show evoked and brought back to life? Libraries and museums, by focusing on conservation, sometimes struggle to control the many details of the subject matter. Each collection has its own history and each institution has faced a multitude of difficulties. The aim of the papers put forward in this book is to illustrate how technology can help deepen the memory of each show and expand the virtually infinite spaces that keep them. The SIBMAS Congress held in Rome in 2002 represented a step forward in thinking about the use of new technologies in libraries and archives.

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TROISIÈME PARTIE. LES RÉSEAUX ET LES RÉPERTOIRES EN LIGNE THIRD PART. NETWORKS AND ONLINE DIRECTORIES

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TROISIÈME PARTIE LES RÉSEAUX ET LES RÉPERTOIRES EN LIGNE THIRD PART NETWORKS AND ONLINE DIRECTORIES 85 The SIBMAS International Directory of Performing Arts Collections and Institutions Online The Transition from Printed Volume to Online Service, How It Was Done, Why Was It Done, How Is It Being Received? Paul ULRICH (Berlin – Germany) At the beginning of the 20th century theatre was recognised as a field of study in its own and not merely a branch of other fields, most partic- ularly literature. The problem of locating primary sources soo n became painfully clea r: w hat ha d bee n preserv ed w as scatter ed in numerous museums, archives a nd libraries t hroughout the wo rld. Ju st as no on e knew how many theatres and performances there were, likewise no one knew where t he multitude of records an d traces of t he theatre could be found. The multi-faceted instit ution t heatre, encom passing the atre, music, art, archi tecture, technology, pu blic adm inistration, to m ention only a few of the as pects, meant that the necessary s ources were s cat- tered, oft en h idden w ithin collections w hich wo uld i nitially seem to have no thing to d o with th e thea tre its elf. The ques tion for the th eatre researcher was thus: w here are the materials for research? The exten- siveness of this problem was elucidated in 1960 by...

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