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dc.contributor.author Barker, Martin
dc.date.accessioned 2009-05-06T13:28:53Z
dc.date.available 2009-05-06T13:28:53Z
dc.date.issued 2003-03
dc.identifier.citation Barker , M 2003 , ' CRASH, Theatre, Audiences, and the Idea of 'Liveness' ' Studies in Theatre and Performance , vol 23 , no. 1 , pp. 21-40 . en
dc.identifier.issn 1468-2761
dc.identifier.other PURE: 100420
dc.identifier.other dspace: 2160/1992
dc.identifier.uri http://hdl.handle.net/2160/1992
dc.identifier.uri http://www.intellectbooks.co.uk/journalissues.php?issn=14682761&v=23&i=1 en
dc.description Barker, Martin, (2003) 'CRASH, Theatre, Audiences, and the Idea of 'Liveness'', Studies in Theatre and Performance 23 (1), pp.21-40 Keywords: Cronenberg, Ballard, audience response, stage versus screen, Philip Auslander, stage adaptation en
dc.description.abstract In 1996 David Cronenberg’s film of J.G. Ballard’s Crash led to a huge controversy in Britain, much of which turned on claims of what the film might do to its audience, claims which were the subject of a major ESRC-funded study. In 2001, in Aberystwyth, David Rabey mounted a stage adaptation of Ballard’s book. This essay presents the first findings of an AHRB-funded research project into audience responses to the stage adaptation. One theme in particular is explored: the complicated meanings of ‘liveness’ to audiences, and how they conceived the differences between stage and screen. This, it is argued, connects with a deep-going assumption about the superiority of stage over screen. The essay examines the tensions within this assumption by their relations with Philip Auslander’s Liveness. en
dc.format.extent 20 en
dc.language.iso eng
dc.relation.ispartof Studies in Theatre and Performance en
dc.title CRASH, Theatre, Audiences, and the Idea of 'Liveness' en
dc.type Text en
dc.type.publicationtype Article (Journal) en
dc.contributor.institution Department of Theatre, Film & Television Studies en
dc.contributor.institution Film and Television Research en
dc.description.status Peer reviewed en


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