Screened Live: Technologically Reconfiguring Notions of the Author

Abstract

The dramatic tradition suggests, for the most part, a progressive relationship between author, performer, producer and audience, in which the author/s originates the playtext, the performers develop a production, and the producer presents the outcome to the public. The arrival of theatrical performance and the fine art exhibition on cinema screens worldwide, the phenomenon of ‘live relay’ or the ‘as live broadcast’ in the arts, challenges this familiar perception of the author/production/audience relationship. The emergence of screening live performances in cinemas has modulated the once-traditional dramaturgical interaction between text, production, and audience. The ‘live relay’ tests the very way we think about theatre and performance. With its destabilization of production and audience spatio-temporal locators, the ‘live relay’ disrupts the vocabulary of theatrical description and it inflects both ontological and epistemological attitudes to the theatre-viewing of the past, the theatre-making of the present, and the interactions thereof. The live relay, moreover, causes disturbances within what can be considered the authorial field. If postdramatic theatre shifts the dramaturgical valency from playwright as creative genius to director as auteur, then the mediaturgy of the ‘live relay’ renders both of these models redundant. This article examines the proposition that the live relay has given rise to new authorial voices and bodies, those of the cinematic director and the institution. These are bodies and voices that need to be accommodated within the mediated and intermedial paradigm of screening live performance in cinema.