theatre

The Experimenter's Body: Movement as an Artifact

Author(s)
Thaisa Martins 1
Publication Date
This paper  summarises a part of the discussions carried out in the author's MA in Archaeology at the Federal University of Rio de Janeiro - Brazil. Starting from the question “when the only thing we have is the archaeologist’s body, how can we do archaeology?” We propose to engage with methodologies and theories from the field of Dance to analyse the experimenter’s body in experimental archaeology research...

History in Motion: Colonial Williamsburg

Author(s)
Nikola Krstović 1
Publication Date
Boundaries are always an interesting topic. In the framework of the current heritage buzz word decolonization, boundaries might also represent what is “colonised” in every cultural enterprise, or to be more specific, how and why some form of power obtruded its authority, and to what extent. Like almost all other museums, Colonial Williamsburg deals with the past. The past has its own boundaries that...

The Forgotten Movement – A (Re)construction of Prehistoric Dances

Author(s)
Ivana Turčin 1
Publication Date
10th EAC Leiden 2017
***Dancing has always been and still is an integral part of the lives of individuals and communities around the world, and it forms part of the cultural identity of all traditional societies. Unlike the arguably small role it has in modern urban societies, dance had much greater role in the lives of individuals and communities of ancient and recent past...

Book Review: Geschichtstheater. Formen der "Living History" by Wolfgang Hochbruck

Author(s)
Ibrahim Karabed 1
Publication Date
The dramatisation of history is ubiquitous in our postmodern everyday life: historical novels (as well as their TV adaptations, netting huge audience figures), documentaries, and stylistic references and citations evoking the past in fashion and architecture...

What Does Your Visitor Experience? Making the Most of Live Interpretation in a Unique Setting

Author(s)
Marc van Hasselt 1
Publication Date
OpenArch Special Digest 2015 Issue 2
***Archaeological Open-Air Museums (AOAM) offer a unique setting in which live interpretation can make history come truly alive. For many, or perhaps all, AOAM history is the product being sold to the public. During the five years the OpenArch project has run the partners have spent many hours discussing the...

Museum Theatre in Greece: Perspectives in Site Interpretation

Author(s)
Foteini Venieri 1,2,3 ✉,
Niki Nikonanou 4
Publication Date
The paper summarizes preliminary findings of a research project on the use of museum theatre in Greek open-air sites, as a part of a PhD thesis. The research focuses on the exploration of the development, use and function of museum theatre in Greek open-air sites based on available secondary resources and primary research, which...

Putting on a Show - The How and Why of Historical Shows and Theatre in a Historical Setting or Theme-park

Author(s)
Jaap Hogendoorn 1 ✉,
Erik Collinson 2
Publication Date
As long as people have walked the earth, stories have been told; from stories around the campfire told by older people to entertain and educate the young, to 15th century knights dressing up as Romans during themed tournaments. Telling a story is putting on a little show; a show is a great way to tell a story... Including Spartacus in Archeon by Erik Collinson

Book Review: Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation by Anthony Jackson & Jenny Kidd (eds)

Author(s)
Kirsty Sullivan 1
Publication Date
This useful text brings together recent thinking about museum theatre and the performance of heritage, offering a range of international case studies to its readers as evidence of the discipline’s usefulness in interpreting the past for visitors...

Interpreting the Interpreter: is Live Historical Interpretation Theatre at National Museums and Historic Sites Theatre?

Author(s)
Ashlee Beattie 1
Publication Date
2012 OpenArch meeting at Foteviken (SE)
***In his 2007 book, Living History Museums: Undoing History through Performance, Scott Magelssen describes the various reactions to his main line of enquiry: is historical interpretation theatre? The majority of the people he interviewed were museum curators and historical interpreters...