By Rosalind E. Krauss
In accordance with the 1999 Walter Neurath Memorial Lecture, this e-book makes use of the paintings of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can by no means be easily collapsed into the physicality in their aid.
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Additional resources for A Voyage on the North Sea: Art in the Age of the Post-Medium Condition (Walter Neurath Memorial Lecture)
It is all too easy for an adult who enjoys pantomime to think that a child enjoys the same thing. This sums up one of the major considerations when embarking upon a theatre project for children. The audience is different from an adult audience. How children differ, what they respond to, what makes them turn off and how they react when confronted with a story acted out for them - knowledge of these areas is vital. How Children Differ 1. Children enjoy being active participants rather than passive spectators One of the most successful routines I perform in my children's magic show involves a flower which wilts whenever I'm not looking at it.
It was January 1969. I had been acting in an adult play in Manchester and returned in time to witness twelve sell-out performances in a week. The children responded with huge enthusiasm, rooting for the Owl and the Pussycat as they pursued their quest to get married, beset by marauding Jumblies and the ever-hungry Plum Pudding Flea. One minute they listened attentively, the next they participated with ear-splitting excitement. The way they willingly suspended disbelief and entered into the spirit of the performance was incredibly exciting and strangely moving.
We must give children the best we can. ' Production values and the quality of writing and direction must be high. If we fail? The words of Alan Hulme, the Manchester Evening News theatre critic, say it all. ' Kathleen Hale, the creator of Orlando, the Marmalade Cat, once told me, 'Of course you have to remember that children have terrible taste. ' This lack of critical faculties in children makes our responsibility to entertain them with integrity all the more crucial. For children are often inexperienced theatre-goers.