In the theatrical arena, actions take place with in vivo urgency while being freed by the artifacts of staging from normal expectations and consequences. "Staging Live Art "is the subject engaging speaker Sally Jane Norman, Professor of Performance Technologies at the University of Sussex. The ways we instate life as art evolve with the artifacts of staging: those used in ancient amphitheatres differ from contemporary devices which complexify notions of presence and immediacy. In settings quickened by biotechnologies and situated robotic intelligence, responsive sensors and mobile data, how we stage live art raises broader questions of how we (re-)define liveness. I propose to look at artistic strategies for staging live action in this wider context.
Part of the 2013 Arts Division Lecture Series "Engaging the Mind"
Lecture is free and open to the public.
Sally Jane Norman is Professor of Performance Technologies at the University of Sussex, where she is leading a capital refurbishment project to establish the Attenborough Centre for the Creative Arts as an interdisciplinary performance hub. Holder of a Master of Arts from Canterbury, Christchurch (Aotearoa/ New Zealand), a Doctorat de IIIe cycle and Doctorat d'état from the Institut d'études théâtrales, Université de Paris III, Norman's work on theatre and performance, embodiment and liveness, moves across theory and practice, art and technology. Previously she was founding director of Culture Lab, Newcastle University's digital research lab; Director of the Ecole européenne supérieure de l'image, Angoulême/ Poitiers, where she created a Digital Arts doctoral programme; European Framework Programme Research Associate at the Zentrum für Kunst und Medientechnologie, Karlsruhe. Her publications on theatre and the arts, research policy, and transdisciplinarity, include commissioned papers for Unesco and the French Ministry of Culture; she is currently preparing a book on theatre. Norman sits on numerous national and international research advisory boards; as co-founding jury member she remains a regular collaborator with the Vida Art & Artificial Life programme launched by the Telefonica Foundation in 1999. As artistic co-director of the Studio for Electro-Instrumental Music in Amsterdam (1998 to 2000), she co-organised STEIM's Touch festival and pursues this research strand via the Newcastle-based Music & Machines network. At Sussex she teaches on the Music & Sonic Media and Art History programmes, supervises interdisciplinary, practice-led PhDs, and seeds cross-campus research.