3-4 July 2025, Southampton
From the earliest days of television broadcasting in the 1930s performers, programmers, and critics were enthusiastic about the potential for a creative approach to live mediated performance and its ability to facilitate an educated form of public dialogue. At the same time, the consistent challenges involved in ‘translating’ a live performance to the screen and the limitations imposed on multi-camera videography (rehearsal opportunities, lighting, camera placement) have demanded compromises and the establishment of practices that have been met with resistance and criticism. In ‘Screening Live Performance’ we aim to unpack the past, present, and future of multi-camera production for the performing arts to understand how this shapes our appreciation of live performance.
To what extent, we ask, can multi-camera production replicate or capture the experience of live performance? Or is it naïve even to consider such notions of immediacy in the face of an elaborate intervention? Has our collective familiarity with the grammar of multi-camera production (in television sports, in sitcoms) allowed us to see ‘through’ its mediating effects? Or is there something still strange and alienating about witnessing live performances fragmented into multiple perspectives, subjected to zoom shots and close-ups?
‘Screening Live Performance’ will bring together scholars and practitioners to consider these and other questions in a combination of individual papers, panel sessions, and roundtable discussions. This two-day cross-disciplinary conference will also feature a workshop led by multi-camera directors Gemma Dixon and Jonathan Haswell at Southampton’s Concert Hall, the Turner Sims, prior to an evening screened concert, demonstrating the techniques involved in presenting a live multi-camera event. Jonathan Haswell will deliver a keynote presentation entitled ‘Live Performance on Screen: Truths and Style’.
We welcome proposals for individual papers (20 minutes), organised panels (3 papers), and roundtables (minimum 4 speakers, maximum 6 speakers and a chair).
See the full call for papers and guiding questions.
Deadline: 21 March 2025
Conference Committee: Miguel Mera (University of Southampton), Christopher Morris (Maynooth University), Gaia Varon (IULM, University of Milan), Carlo Cenciarelli (University of Cardiff), and Erin Sullivan (Shakespeare Institute, University of Birmingham).
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Dimanche 13 Avril, 2025