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The Wooster Group: A Dictionary of Ideas

The Wooster Group: A Dictionary of Ideas THE WOOSTER GROUP A Dictionary of Ideas Bonnie Marranca ANTHOLOGY he Wooster Group brings together the intertextual, the intercultural, and intermedia in a new definition of the liber mundi. This theatre chooses all species of texts from the cultural heritage, then stages their dissemination in new spaces and environments, generating a multiplicity of narratives and images. This is the legacy of John Cage’s “library of sounds” and of Rauschenberg’s mixedmedia works. As an aesthetic strategy it takes for granted that in using the archives of art and culture as a database the issue is not one of ownership, but of distribution. Viewed in another light, the deterritorialization process of this kind of theatre, if extended into the world of cyberspace, changes the very nature of the way we think of art and authorship, composition and interpretation, and the notion of boundaries between art forms, art and everyday life, one culture and another, the created and the ready-made. This approach highlights process—the artwork and the work of art. It is more and more apparent that the post-war American avant-garde model, based on the cutting up, quoting, redistribution, and recontextualization of the world archive of accumulated texts, images, and sounds http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Wooster Group: A Dictionary of Ideas

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Publisher
MIT Press
Copyright
© 2003 Performing Arts Journal, Inc.
Subject
Features
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/152028103321781510
Publisher site
See Article on Publisher Site

Abstract

THE WOOSTER GROUP A Dictionary of Ideas Bonnie Marranca ANTHOLOGY he Wooster Group brings together the intertextual, the intercultural, and intermedia in a new definition of the liber mundi. This theatre chooses all species of texts from the cultural heritage, then stages their dissemination in new spaces and environments, generating a multiplicity of narratives and images. This is the legacy of John Cage’s “library of sounds” and of Rauschenberg’s mixedmedia works. As an aesthetic strategy it takes for granted that in using the archives of art and culture as a database the issue is not one of ownership, but of distribution. Viewed in another light, the deterritorialization process of this kind of theatre, if extended into the world of cyberspace, changes the very nature of the way we think of art and authorship, composition and interpretation, and the notion of boundaries between art forms, art and everyday life, one culture and another, the created and the ready-made. This approach highlights process—the artwork and the work of art. It is more and more apparent that the post-war American avant-garde model, based on the cutting up, quoting, redistribution, and recontextualization of the world archive of accumulated texts, images, and sounds

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2003

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