Abstract
This article focuses on an analysis of the live intermedial performance, <em>The Mark of Affect</em>. Using the theories of Philip Auslander (2008), Erika Fischer-Lichte (2008) and Roberta Mock (in Power 2008) as a starting point, three moments from the performance are analysed in relation to liveness; specifically, how it is constructed and manifests itself within this performance. In all cases, the combinations of live and mediatised acts are seen as creating hybrid forms of liveness, which exist both within and through the technology employed on stage.
Highlights
When I first started developing an intermedial performance medium, my concern was much more with how the technological tools I was employing could serve the content I wanted to present on stage
It led me to want to investigate how liveness manifested itself on a stage, where the performer/activator could construct the performance in real time and in the presence of the spectators and where the mechanics of this intermedial construction were part of the performance
Live intermedial performance can be defined as performance whereby the performer is the activator and manipulator of the various elements which make up the intermedial mise-en-scène
Summary
Dispersed and dislocated: the construction of liveness in live intermedial performance Scott, JE Article This version is available at: http://usir.salford.ac.uk/id/eprint/33623/ 2012. USIR is a digital collection of the research output of the University of Salford. Full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. Dispersed and Dislocated: The construction of liveness in live intermedial performance
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