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How images survive (in) theatre : on the lives of images in Rabih Mroué’s the pixelated revolution and three posters

Jeroen Coppens (UGent)
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Abstract
This article analyses two theatre pieces by Rabih Mroué as statements and reflections about how images work. “The Pixelated Revolution” (2012) and “Three Posters” (2000) are lecture-performances that probe the power of images in the context of war. Both performances use images “on the brink” of death, the first showing gripping footage from demonstrators in the Syrian civil war and the latter integrating a real video testimony of a Lebanese suicide bomber into the theatre piece. These precarious images between life and death are used to theorise the image in an alternative way. Specifically, Mroué stages the image as self-critical metapictures, as has been theorized by W. J. T. Mitchell. Furthermore, Mroué treats the images as if they were actors, as if they had a life, a death, and ghostly (re)appearances of their own. This relates to Mitchell’s later approach, looking at images as living organisms. If images are alive, what lives do they lead, both within and beyond the theatre?
Keywords
Theatre, W. J. T. Mitchell, Martyrdom, Metapictures, Picture as Living Organism

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MLA
Coppens, Jeroen. “How Images Survive (in) Theatre : On the Lives of Images in Rabih Mroué’s the Pixelated Revolution and Three Posters.” THE INTERNATIONAL JOURNAL OF THE IMAGE, vol. 9, no. 2, 2018, pp. 55–71.
APA
Coppens, J. (2018). How images survive (in) theatre : on the lives of images in Rabih Mroué’s the pixelated revolution and three posters. THE INTERNATIONAL JOURNAL OF THE IMAGE, 9(2), 55–71.
Chicago author-date
Coppens, Jeroen. 2018. “How Images Survive (in) Theatre : On the Lives of Images in Rabih Mroué’s the Pixelated Revolution and Three Posters.” THE INTERNATIONAL JOURNAL OF THE IMAGE 9 (2): 55–71.
Chicago author-date (all authors)
Coppens, Jeroen. 2018. “How Images Survive (in) Theatre : On the Lives of Images in Rabih Mroué’s the Pixelated Revolution and Three Posters.” THE INTERNATIONAL JOURNAL OF THE IMAGE 9 (2): 55–71.
Vancouver
1.
Coppens J. How images survive (in) theatre : on the lives of images in Rabih Mroué’s the pixelated revolution and three posters. THE INTERNATIONAL JOURNAL OF THE IMAGE. 2018;9(2):55–71.
IEEE
[1]
J. Coppens, “How images survive (in) theatre : on the lives of images in Rabih Mroué’s the pixelated revolution and three posters,” THE INTERNATIONAL JOURNAL OF THE IMAGE, vol. 9, no. 2, pp. 55–71, 2018.
@article{8560698,
  abstract     = {{This article analyses two theatre pieces by Rabih Mroué as statements and reflections about how images work. “The Pixelated Revolution” (2012) and “Three Posters” (2000) are lecture-performances that probe the power of images in the context of war. Both performances use images “on the brink” of death, the first showing gripping footage from demonstrators in the Syrian civil war and the latter integrating a real video testimony of a Lebanese suicide bomber into the theatre piece. These precarious images between life and death are used to theorise the image in an alternative way. Specifically, Mroué stages the image as self-critical metapictures, as has been theorized by W. J. T. Mitchell. Furthermore, Mroué treats the images as if they were actors, as if they had a life, a death, and ghostly (re)appearances of their own. This relates to Mitchell’s later approach, looking at images as living organisms. If images are alive, what lives do they lead, both within and beyond the theatre?}},
  author       = {{Coppens, Jeroen}},
  issn         = {{2154-8560}},
  journal      = {{THE INTERNATIONAL JOURNAL OF THE IMAGE}},
  keywords     = {{Theatre,W. J. T. Mitchell,Martyrdom,Metapictures,Picture as Living Organism}},
  language     = {{eng}},
  number       = {{2}},
  pages        = {{55--71}},
  title        = {{How images survive (in) theatre : on the lives of images in Rabih Mroué’s the pixelated revolution and three posters}},
  url          = {{http://dx.doi.org/10.18848/2154-8560/CGP/v09i02/55-71}},
  volume       = {{9}},
  year         = {{2018}},
}

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