The Theater of Electricity: Technology and Spectacle in the Late 19th Century by Ulf Otto (review)

IF 0.8 3区 哲学 Q2 HISTORY & PHILOSOPHY OF SCIENCE Technology and Culture Pub Date : 2024-05-09 DOI:10.1353/tech.2024.a926352
Sarah Kriger
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Using these, Otto analyzes how electrical technologies, such as carbon-arc and incandescent lights, were integrated into and developed within theatrical material culture and how famous performances involving these and other technologies both influenced and were influenced by the cultural meaning of this new source of power. He is interested in particular in what he calls the \"aesthetic regime\" of electricity, which makes it possible to reconcile then-developing modernism with industrial materiality by permitting audiences and artists to avoid directly perceiving the labor that made electrical power possible.</p> <p>Otto shows the collaborative influences of theater, culture, and electrical technologies through eclectic historical examples; in fact, <em>The Theater of Electricity</em> often feels densely packed with these examples, each one seeming as though it could be expanded into a more detailed study. He draws on a rich variety of primary and secondary sources, exploring his thesis from many angles. Importantly, he is careful not only to describe the effects of electrical technologies on audiences and performers but also to integrate the backstage engineers and technicians to provide a fuller picture.</p> <p>However, for scholars who focus on the technological, not the theatrical, this wide-ranging approach is sometimes disorienting. This is in part because the author aims this book at an audience familiar with histories of theater but less so with histories of technology. His historiological purpose, he explains, is to criticize the tendency of history of theater to treat science and technology as distinct entities developed in the world outside the theater and then adapted for theatrical practice. Instead, he argues through example, performance histories must regard theater and technologies as interconnected, each influencing the other within the larger context of social, cultural, and economical changes. He explicitly incorporates approaches learned from histories of technology, such as Morus's work on electrical demonstrations in Victorian England, and integrates STS concepts, such as Latour's actor-network theory. Because Otto assumes readers' background in historiographies of theater and culture, scholars coming from a history of technology and/or STS background may find some theater-history methodologies and <strong>[End Page 737]</strong> performance events to be underexplained; nevertheless, they will surely find Otto's combination of theoretical lenses to be of interest.</p> <p>Finally, a review of the English version would be incomplete without mentioning the caveat from the author's note that this book was translated using AI. Though the translation was checked prepublication by human readers, some errors remain. More critically, it's occasionally unclear whether the author chooses particular terms intentionally, in order to embrace or reject established theoretical vocabularies. Likewise, since the choice of whether to use a historical or modern term and/or an original or translated term is often laden with meaning, it can be ambiguous whether an untranslated or contemporary word is purposeful or accidental.</p> <p>The method of translation also makes it difficult to tell if some minor historical imprecisions are due to the author or the software. For example, in relation to this reviewer's area of study, Otto tangentially mentions magicians and similar figures, such as John Henry Pepper, using incorrect names or terminology inappropriate to the contemporary view of them (p. 282). These details are tangential to Otto's overarching arguments, not necessary to the analysis in which they appear, but the errors detract from otherwise thorough research.</p> <p>Overall, because of Otto's breadth of examples, historians of technology with various interests will find parts of this book to be a rewarding read. 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Abstract

Reviewed by:

  • The Theater of Electricity: Technology and Spectacle in the Late 19th Century by Ulf Otto
  • Sarah Kriger (bio)
The Theater of Electricity: Technology and Spectacle in the Late 19th Century By Ulf Otto. Berlin: Springer-Verlag, 2023. Pp. xxvii + 314.

Ulf Otto's The Theater of Electricity examines a wide range of electrical presentations and technologies in use on the western European stage in the titular time period. Geographically, Otto examines mainly German cases, although the book also covers certain performances in France and England. His case studies include examples from opera, spectacular theater, dance, and technological exhibitions. Using these, Otto analyzes how electrical technologies, such as carbon-arc and incandescent lights, were integrated into and developed within theatrical material culture and how famous performances involving these and other technologies both influenced and were influenced by the cultural meaning of this new source of power. He is interested in particular in what he calls the "aesthetic regime" of electricity, which makes it possible to reconcile then-developing modernism with industrial materiality by permitting audiences and artists to avoid directly perceiving the labor that made electrical power possible.

Otto shows the collaborative influences of theater, culture, and electrical technologies through eclectic historical examples; in fact, The Theater of Electricity often feels densely packed with these examples, each one seeming as though it could be expanded into a more detailed study. He draws on a rich variety of primary and secondary sources, exploring his thesis from many angles. Importantly, he is careful not only to describe the effects of electrical technologies on audiences and performers but also to integrate the backstage engineers and technicians to provide a fuller picture.

However, for scholars who focus on the technological, not the theatrical, this wide-ranging approach is sometimes disorienting. This is in part because the author aims this book at an audience familiar with histories of theater but less so with histories of technology. His historiological purpose, he explains, is to criticize the tendency of history of theater to treat science and technology as distinct entities developed in the world outside the theater and then adapted for theatrical practice. Instead, he argues through example, performance histories must regard theater and technologies as interconnected, each influencing the other within the larger context of social, cultural, and economical changes. He explicitly incorporates approaches learned from histories of technology, such as Morus's work on electrical demonstrations in Victorian England, and integrates STS concepts, such as Latour's actor-network theory. Because Otto assumes readers' background in historiographies of theater and culture, scholars coming from a history of technology and/or STS background may find some theater-history methodologies and [End Page 737] performance events to be underexplained; nevertheless, they will surely find Otto's combination of theoretical lenses to be of interest.

Finally, a review of the English version would be incomplete without mentioning the caveat from the author's note that this book was translated using AI. Though the translation was checked prepublication by human readers, some errors remain. More critically, it's occasionally unclear whether the author chooses particular terms intentionally, in order to embrace or reject established theoretical vocabularies. Likewise, since the choice of whether to use a historical or modern term and/or an original or translated term is often laden with meaning, it can be ambiguous whether an untranslated or contemporary word is purposeful or accidental.

The method of translation also makes it difficult to tell if some minor historical imprecisions are due to the author or the software. For example, in relation to this reviewer's area of study, Otto tangentially mentions magicians and similar figures, such as John Henry Pepper, using incorrect names or terminology inappropriate to the contemporary view of them (p. 282). These details are tangential to Otto's overarching arguments, not necessary to the analysis in which they appear, but the errors detract from otherwise thorough research.

Overall, because of Otto's breadth of examples, historians of technology with various interests will find parts of this book to be a rewarding read. Those who study technological and scientific exhibitions may enjoy the sections on nineteenth-century German industrial exhibitions; those interested in European displays...

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电力剧院:乌尔夫-奥托(Ulf Otto)著的《19 世纪末的技术与奇观》(评论
评论者: 电力剧院:乌尔夫-奥托(Ulf Otto)著《19 世纪末的技术与奇观》 Sarah Kriger (bio) Theater of Electricity:乌尔夫-奥托著。柏林:施普林格出版社,2023 年。第 xxvii + 314 页。乌尔夫-奥托的《电力剧场》研究了该时期西欧舞台上使用的各种电力表演和技术。从地域上看,奥托主要研究了德国的案例,尽管该书也涉及法国和英国的某些演出。他的案例研究包括歌剧、壮观的戏剧、舞蹈和技术展览。通过这些案例,奥托分析了碳弧灯和白炽灯等电气技术是如何融入戏剧物质文化并在其中得到发展的,以及涉及这些技术和其他技术的著名表演是如何影响并被这种新动力来源的文化意义所影响的。他尤其对他所称的电力 "美学机制 "感兴趣,这种机制允许观众和艺术家避免直接感知使电力成为可能的劳动,从而使当时发展中的现代主义与工业物质性得以调和。奥托通过不拘一格的历史事例展示了戏剧、文化和电力技术的共同影响;事实上,《电力剧场》常常让人感觉这些事例密密麻麻,每个事例似乎都可以扩展成更详细的研究。他利用了丰富的第一手和第二手资料,从多个角度探讨了他的论题。重要的是,他不仅谨慎地描述了电气技术对观众和表演者的影响,还将后台工程师和技术人员纳入其中,以提供更全面的信息。然而,对于专注于技术而非戏剧的学者来说,这种广泛的研究方法有时会让人迷失方向。部分原因在于作者将本书的读者定位为熟悉戏剧史但不太了解技术史的读者。他解释说,他的史学目的是批评戏剧史倾向于将科学和技术视为在戏剧之外的世界中发展起来的不同实体,然后将其应用于戏剧实践。相反,他通过实例指出,表演史必须将戏剧和技术视为相互关联的,两者在社会、文化和经济变革的大背景下相互影响。他明确吸收了从技术史中学到的方法,例如莫鲁斯关于维多利亚时代英国电气演示的研究,并融入了STS概念,例如拉图尔的演员-网络理论。由于奥托假定读者具有戏剧史和文化史背景,因此来自技术史和/或 STS 背景的学者可能会发现一些戏剧史方法论和 [完 737 页] 演出事件的解释不够充分;不过,他们一定会发现奥托的理论视角组合很有意义。最后,如果不提及作者注释中的注意事项,即本书是使用人工智能翻译的,那么对英文版的评论将是不完整的。虽然翻译在出版前经过了人类读者的检查,但仍存在一些错误。更关键的是,有时不清楚作者是否有意选择特定术语,以接受或拒绝既定的理论词汇。同样,由于选择使用历史术语还是现代术语和/或使用原文术语还是译文术语往往带有深意,因此,一个未经翻译的词或现代词究竟是有意为之还是偶然为之,也可能含糊不清。翻译方法也让人难以分辨一些微小的历史不准确之处是作者还是软件的原因。例如,与该评论者的研究领域有关,奥托在提到魔术师和类似人物(如约翰-亨利-佩珀)时,使用了不正确的名称或不符合当代观点的术语(第 282 页)。这些细节与奥托的主要论点无关,对其中出现的分析也没有必要,但这些错误却有损于其他方面的深入研究。总之,由于奥托列举的例子非常广泛,对本书感兴趣的科技史学家会发现本书的部分内容读起来很有收获。研究技术和科学展览的人可能会喜欢有关 19 世纪德国工业展览的章节;对欧洲展览感兴趣的人可能会喜欢有关 19 世纪德国工业展览的章节。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Technology and Culture
Technology and Culture 社会科学-科学史与科学哲学
CiteScore
0.60
自引率
14.30%
发文量
225
审稿时长
>12 weeks
期刊介绍: Technology and Culture, the preeminent journal of the history of technology, draws on scholarship in diverse disciplines to publish insightful pieces intended for general readers as well as specialists. Subscribers include scientists, engineers, anthropologists, sociologists, economists, museum curators, archivists, scholars, librarians, educators, historians, and many others. In addition to scholarly essays, each issue features 30-40 book reviews and reviews of new museum exhibitions. To illuminate important debates and draw attention to specific topics, the journal occasionally publishes thematic issues. Technology and Culture is the official journal of the Society for the History of Technology (SHOT).
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