Show Less
Restricted access

Capter l’essence du spectacle- Un enjeu de taille pour le patrimoine immatériel- Capturing the Essence of Performance- The Challenges of Intangible Heritage

Société internationale des bibliothèques et musées des arts du spectacle (27 e Congrès : Glasgow, 25-29 août 2008)- International Association of Libraries and Museums of the Performing Art (27 th Congress: Glasgow, 25-29 August 2008)

Nicole Leclercq, Laurent Rossion and Alan Jones

Le défi du patrimoine immatériel est de capturer l’essence du spectacle : l’idée de « capture » a cela d’intéressant qu’elle suppose que les professionnels impliqués dans la SIBMAS soient comme des chasseurs, sur la piste, de toutes sortes de façons, afin de coincer et de recueillir un petit quelque chose d’éphémère, qui en vaut la peine, et qui nous en apprend sur nous-mêmes et sur notre monde. Certains chasseurs se servent des bases de données, d’autres des écrits ou des images – mais tous partagent un même objectif : ne pas laisser se perdre un moment spécial, magique, que seule la vie du spectacle peut générer.
The challenge of intangible heritage is to capture the essence of performance: the idea of capturing is interesting as it implies that the professionals, involved in SIBMAS, are on a hunt, a hunt in a number of different ways to pin down and preserve something ephemeral and something worth preserving, something that tells us more about ourselves and the world we live in. Some hunters use the database, some the written word, some the camera but all share a common goal: not to let go of a particular moment, a magic moment that only the live event can create.
Contenu/Contents: Claire Hudson : Préface/Preface – Alan Jones : Introduction/Introduction – Bonnie Hewson: The Other Challenge of Intangible Heritage – Laurent Rossion : À tort ou à raison… Quelques façons de mettre en boîte un spectacle – Nena Couch: The Moving Image Secured Media Network: Presenting the Ephemeral Art of the Dance – Sarah Whatley/Ross Varney: Siobhan Davies Dance Online: The Digital Archive and Documenting the Dance Making Process – Francesca Franchi: Capturing a Performance: A Starring Role for Collections? – Geoffrey Marsh: Documenting Performance: Expanding the Role of Video Recording – Daisy Abbott/Sarah Jones/Seamus Ross: Theoretical Discussions on Digital Representations of Performance – Agathe Sanjuan : À la recherche du spectacle perdu : les spécificités du patrimoine des arts du spectacle – Janine Barrand: Edna, Kylie & Nick: How the Arts Centre, Melbourne Created History with Australia’s Performing Arts Icons – Stephen Cleary: Audio and Video Documentation of Performance at the British Library, 1963-2008 – Ken Hagiwara/Yoko Ueda: Possibilities of Collaboration between a Theatre Museum and an Institution for Theatre Research: On the International Institute for Education and Research in Theatre and Film Arts at the Theatre Museum of Waseda University – Karl Magee: The Cinema Authorship of Lindsay Anderson – Paula Braga/José Luís Ferreira: CINFO: A Theatrical Information System – Rupert Ridgewell: The Concert Programmes Project: History, Progress and Future Directions – Francka Slivnik: Josip Rijavec / Jose Riavez – Helena Hantáková: Accessible Digital Versions of Unpublished Theatre Plays Located in the Theatre Institute Library in Prague – Agata Adamiecka-Sitek/Dorota Buchwald: Capturing the Essence of Performance on the Net: Towards a Virtual Archive – Teresa González Borrajo/Anna Valls : La bibliothèque et le musée numérique du Centre de documentation et Musée des Arts de la scène (MAE) de l’Institut du théâtre – Chris Jones: Royal Opera House Collections Online: Providing Virtual Interaction with Intangible Heritage – Heike Roms: Remembering Performance – Performing Memory: An Oral History of Performance Art in Wales – Judith Bowers: Intangible Britannia? – Francis Reid: How Did the Lighting Look? Interpreting the Evidence – Elvyra Markevičiūtė: Provocations of Proactive Collecting through Close Collaboration with Performing Artists – Philippe Binot : Autour de Joyaux de George Balanchine – Susan M. Cole: Documenting the Ephemerality of Place: The Work of the ConstellationCenter Library and Archives – Valerie Hunter: Footlights: Capturing the Essence of Performance – Mitchell Miller: Biddall’s Walk’ Contextualising the Fairground’s Contribution to Early Cinema: A Report from The Ghost Show Project – Anselm Heinrich: «York Memories»: Oral History and Regional Theatre – Arturo Díaz Sandoval : Recherche sociale dans la représentation populaire, traditionnelle et scénique – Jami Rogers: The Promptbook and the Pause – Sylvia Morris: Theatrical Photographs: Evidence or Interpretation? Angus McBean, Shakespeare, and «the Spirit of the Drama» – Flloyd Kennedy: The Vocal Performance Text as Historiography – Jamie Andrews: Theatre Archive Project: A New Light on a Golden Generation – Jane Pritchard: What are we Looking at? Recognising and Interpreting the Remains of Serge Diaghilev’s Ballets Russes – Mathias Auclair : Représenter et conserver la danse : impossibles défis ? Autour de l’exposition Image(s) de la danse de la Bibliothèque-musée de l’Opéra – Svetlana