The Art of Authenticity

Carole-Anne Upton

    Research output: Chapter in Book/Report/Conference proceedingConference contribution

    Abstract

    One of the principal challenges in staging drama which is rooted in fact, or at least in history, is to establish its claim to present authentically its source material. This paper reflects on the ways in which markers of authenticity may be constructed by actors, directors and audiences in the staging of factual material. Taking as its focus a range of recent theatrical events addressing experiences of conflict in Northern Ireland, the paper considers the possible tension between verisimilitude and aestheticisation. It considers issues of distance and perspective, representational accuracy and ‘artistic licence’. Consideration is given to what might constitute the inauthentic in performance, as the paper investigates the conditions that give rise to a sense in the audience of being manipulated or deceived. Examples of work might include the 2009-10 Theatre of Witness project at the Derry Playhouse, the series of plays dealing with Bloody Sunday and two dramatic treatments of experiences of prisoners at HMP The Maze by Armand Gatti and Martin Lynch.The paper will argue that a sense of authenticity is largely the product of a theatrical meta-discourse, one which constructs a series of indicators to reassure the audience of the credibility of the performances and the event.
    LanguageEnglish
    Title of host publicationUnknown Host Publication
    Number of pages0
    Publication statusPublished - 2 Sep 2010
    EventActing with Facts: Performing the Real on Stage and Screen, 1990-2010, An International Conference - University of Reading
    Duration: 2 Sep 2010 → …

    Conference

    ConferenceActing with Facts: Performing the Real on Stage and Screen, 1990-2010, An International Conference
    Period2/09/10 → …

    Fingerprint

    Art
    Authenticity
    Metadiscourse
    Prisoners
    Verisimilitude
    Maze
    Witness
    Northern Ireland
    Playhouse
    History
    Theatrical Event
    Drama
    Sunday
    Credibility
    Derry
    Source Material

    Cite this

    Upton, C-A. (2010). The Art of Authenticity. In Unknown Host Publication
    Upton, Carole-Anne. / The Art of Authenticity. Unknown Host Publication. 2010.
    @inproceedings{233455bfa8ee465f9144cd93c5c9cf7f,
    title = "The Art of Authenticity",
    abstract = "One of the principal challenges in staging drama which is rooted in fact, or at least in history, is to establish its claim to present authentically its source material. This paper reflects on the ways in which markers of authenticity may be constructed by actors, directors and audiences in the staging of factual material. Taking as its focus a range of recent theatrical events addressing experiences of conflict in Northern Ireland, the paper considers the possible tension between verisimilitude and aestheticisation. It considers issues of distance and perspective, representational accuracy and ‘artistic licence’. Consideration is given to what might constitute the inauthentic in performance, as the paper investigates the conditions that give rise to a sense in the audience of being manipulated or deceived. Examples of work might include the 2009-10 Theatre of Witness project at the Derry Playhouse, the series of plays dealing with Bloody Sunday and two dramatic treatments of experiences of prisoners at HMP The Maze by Armand Gatti and Martin Lynch.The paper will argue that a sense of authenticity is largely the product of a theatrical meta-discourse, one which constructs a series of indicators to reassure the audience of the credibility of the performances and the event.",
    author = "Carole-Anne Upton",
    year = "2010",
    month = "9",
    day = "2",
    language = "English",
    booktitle = "Unknown Host Publication",

    }

    Upton, C-A 2010, The Art of Authenticity. in Unknown Host Publication. Acting with Facts: Performing the Real on Stage and Screen, 1990-2010, An International Conference, 2/09/10.

    The Art of Authenticity. / Upton, Carole-Anne.

    Unknown Host Publication. 2010.

    Research output: Chapter in Book/Report/Conference proceedingConference contribution

    TY - GEN

    T1 - The Art of Authenticity

    AU - Upton, Carole-Anne

    PY - 2010/9/2

    Y1 - 2010/9/2

    N2 - One of the principal challenges in staging drama which is rooted in fact, or at least in history, is to establish its claim to present authentically its source material. This paper reflects on the ways in which markers of authenticity may be constructed by actors, directors and audiences in the staging of factual material. Taking as its focus a range of recent theatrical events addressing experiences of conflict in Northern Ireland, the paper considers the possible tension between verisimilitude and aestheticisation. It considers issues of distance and perspective, representational accuracy and ‘artistic licence’. Consideration is given to what might constitute the inauthentic in performance, as the paper investigates the conditions that give rise to a sense in the audience of being manipulated or deceived. Examples of work might include the 2009-10 Theatre of Witness project at the Derry Playhouse, the series of plays dealing with Bloody Sunday and two dramatic treatments of experiences of prisoners at HMP The Maze by Armand Gatti and Martin Lynch.The paper will argue that a sense of authenticity is largely the product of a theatrical meta-discourse, one which constructs a series of indicators to reassure the audience of the credibility of the performances and the event.

    AB - One of the principal challenges in staging drama which is rooted in fact, or at least in history, is to establish its claim to present authentically its source material. This paper reflects on the ways in which markers of authenticity may be constructed by actors, directors and audiences in the staging of factual material. Taking as its focus a range of recent theatrical events addressing experiences of conflict in Northern Ireland, the paper considers the possible tension between verisimilitude and aestheticisation. It considers issues of distance and perspective, representational accuracy and ‘artistic licence’. Consideration is given to what might constitute the inauthentic in performance, as the paper investigates the conditions that give rise to a sense in the audience of being manipulated or deceived. Examples of work might include the 2009-10 Theatre of Witness project at the Derry Playhouse, the series of plays dealing with Bloody Sunday and two dramatic treatments of experiences of prisoners at HMP The Maze by Armand Gatti and Martin Lynch.The paper will argue that a sense of authenticity is largely the product of a theatrical meta-discourse, one which constructs a series of indicators to reassure the audience of the credibility of the performances and the event.

    M3 - Conference contribution

    BT - Unknown Host Publication

    ER -

    Upton C-A. The Art of Authenticity. In Unknown Host Publication. 2010