Abstract
In this paper, we intend to reflect on how audiovisual performance forces us to rethink the concept of narrativity. After a brief review on the fundamentals of narrative theory and audiovisual performance, we will analyse three cases that illustrate different manifestations of narrativity in audiovisual performance.
Highlights
The digital artefacts, and the scope of audiovisual production in particular, bring new challenges to established theoretical concepts towards the construction of narrative works and the construction of meaning from experience
Sound is essential in the relationship that it establishes with image, considering that the role of music in audiovisual performance goes beyond the concept of soundtrack
3.3 NARRATIVE AS CONCEPT: BORIS CHIMP 504 (FROM 2010 TO PRESENT), RODRIGO CARVALHO E MIGUEL NETO. In this last case study, we found the limits to the concept of narrativity, considering that this study places story as a pretext from which all performances are constructed
Summary
The digital artefacts, and the scope of audiovisual production in particular, bring new challenges to established theoretical concepts towards the construction of narrative works and the construction of meaning from experience. Narratives constructed this way follow a continuum from the cinematographic editing and transition to a live context, while taking advantage of the tools that make capturing, editing and real time editing possible Within this scope, Mia Makela (artist and theorist who uses the term live cinema for her work) points out the differences between live cinema and cinema, comparing the non-linearity and absence of a story with actors (by means of dialogues and expressions) of the former with the linearity surrounding the construction of conflict among characters in the sense of a final resolution of the latter (Makela, 2006). The information collected about the works is based on interviews with the artists who created the performances, their portfolios and videos on Vimeo
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