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dc.contributor.author Martin en_US
dc.date.accessioned 2009-05-06T13:28:53Z
dc.date.available 2009-05-06T13:28:53Z
dc.date.issued 2003-03 en_US
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_US
dc.identifier.other PURE: 100420 en_US
dc.identifier.other dspace: 2160/1992 en_US
dc.identifier.uri http://hdl.handle.net/2160/1992
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_US
dc.format.extent 20 en_US
dc.relation.ispartof Studies in Theatre and Performance en_US
dc.title CRASH, Theatre, Audiences, and the Idea of 'Liveness' en_US
dc.contributor.pbl Department of Theatre, Film & Television Studies en_US
dc.contributor.pbl Film and Television Research en_US


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