{"title":"Exhibition curation as practice-as-research performance historiography: an incomplete story of audience experience","authors":"Kate Holmes","doi":"10.1080/14682761.2022.2105544","DOIUrl":null,"url":null,"abstract":"Taking an interdisciplinary approach to information-led exhibitions focused on performance can be considered practice-as-research historiography if curation is engaged with as praxis. Approaching exhibition curation as research praxis is a knowledge-making process, reconfiguring exhibitions as far more than a ‘pathway to impact’ designed at securing a grant. In the curation of two linked exhibitions on nineteenth-century popular entertainments at the Bill Douglas Cinema Museum and University of Bristol Theatre Collection, which were stunted due to COVID-19, I developed an argument for the shared ground of exhibitions and performance. If archival objects can perform, the exhibition space itself is a stage through which they communicate embodied meanings to audiences. I explore how exhibition curation generates different epistemologies to written research by putting museum studies, performance history, audience studies and performance practice-as-research in conversation. I demonstrate how museum studies could benefit from performance in developing epistemological arguments, and how performance studies can more significantly privilege the audience in the knowledge production process. I conclude my findings by discussing how planned activities and lessons learnt from these exhibitions could provide a blueprint for practitioners interested in using the exhibition form and format to conduct historically relational practice-research inquiries in conversation with audiences. © 2022 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Theatre and Performance","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/14682761.2022.2105544","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 0
展览策展作为实践-研究的表演史学:一个不完整的观众体验故事
如果策展作为一种实践,那么采用跨学科的方法来关注以信息为主导的展览,可以将其视为实践作为研究的史学。将展览策展作为研究实践是一个知识生成的过程,重新配置展览远不止是为了获得资助而设计的“影响途径”。在比尔·道格拉斯电影博物馆和布里斯托尔大学剧院收藏的两个19世纪流行娱乐展览的策展过程中,我提出了一个关于展览和表演共享基础的论点,这些展览因COVID-19而受到阻碍。如果档案物品可以表演,那么展览空间本身就是一个舞台,通过这个舞台,档案物品可以向观众传达其所体现的意义。我通过将博物馆研究、表演历史、观众研究和表演实践作为研究放在对话中,探索策展如何为书面研究产生不同的认识论。我展示了博物馆研究如何从发展认识论论证的表演中受益,以及表演研究如何在知识生产过程中更显着地赋予观众特权。我通过讨论计划中的活动和从这些展览中吸取的经验教训如何为有兴趣使用展览形式和形式的从业者提供蓝图,从而在与观众的对话中进行历史相关的实践研究询问。©2022作者。由Informa UK Limited出版,以Taylor & Francis Group的名义进行交易。
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