2026-09-19T14:39:56Zhttps://dspace.mit.edu/server/oai/requestoai:dspace.mit.edu:1721.1/768652022-01-13T07:54:12Zcom_1721.1_7582com_1721.1_7581col_1721.1_131023
Richard Leacock.
Purdie, Catherine
Massachusetts Institute of Technology. Dept. of Architecture.
Massachusetts Institute of Technology. Department of Architecture
2013-02-14T15:11:25Z
2013-02-14T15:11:25Z
1984
1984
http://hdl.handle.net/1721.1/76865
15992724
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1984.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (leaf 17).
The edge of the stage is not only the point where the mask is removed but also the line where performance enters daily life . The film, The Edge of the Stage, revolves around this point through the lives of five performers. Many levels of illusion are presented and removed as they portray different characters in the film, including themselves. Their roles are both unique and universal as they become metaphors for performance . The vehicle, the film, is not only a transparent medium in which to express the art of performance but rather a structure to reference the performers' art and their lives to the nature of performance in all our lives. This paper examines the role of illusion in both film and performance and the structures that control and break that illusion. Moving through the history of these intertwined art forms, the paper traces some of the ideas and observations that provided a framework for The Edge of the Stage. The thesis consists of a text and a videotape. The tape is 18 minutes long, in color, with sound, and is a transfer onto 3/4" video from film.
by Catherine Purdie.
M.S.V.S.
17 leaves
eng
Massachusetts Institute of Technology
M.I.T. theses are protected by
copyright. They may be viewed from this source for any purpose, but
reproduction or distribution in any format is prohibited without written
permission. See provided URL for inquiries about permission.
http://dspace.mit.edu/handle/1721.1/7582
Architecture.
The edge of the stage
Thesis
application/pdf
false
Publication
unknown
unknown
<Publication xmlns="https://www.openaire.eu/cerif-profile/1.1/" id="a0eb7a89-a9b6-4f43-900c-b83d43fd731a">
<Type xmlns="https://www.openaire.eu/cerif-profile/vocab/COAR_Publication_Types">http://purl.org/coar/resource_type/c_1843</Type>
<Language>eng</Language>
<Title>The edge of the stage</Title>
<PublishedIn>
<Publication>
</Publication>
</PublishedIn>
<PublicationDate>1984</PublicationDate>
<Authors>
<Author>
<DisplayName>Purdie, Catherine</DisplayName>
<Affiliation>
<OrgUnit>
</OrgUnit>
</Affiliation>
</Author>
</Authors>
<Editors>
</Editors>
<Publishers>
<Publisher>
<DisplayName>Massachusetts Institute of Technology</DisplayName>
<OrgUnit />
</Publisher>
</Publishers>
<License>http://dspace.mit.edu/handle/1721.1/7582</License>
<Keyword>Architecture.</Keyword>
<Abstract>The edge of the stage is not only the point where the mask is removed but also the line where performance enters daily life . The film, The Edge of the Stage, revolves around this point through the lives of five performers. Many levels of illusion are presented and removed as they portray different characters in the film, including themselves. Their roles are both unique and universal as they become metaphors for performance . The vehicle, the film, is not only a transparent medium in which to express the art of performance but rather a structure to reference the performers' art and their lives to the nature of performance in all our lives. This paper examines the role of illusion in both film and performance and the structures that control and break that illusion. Moving through the history of these intertwined art forms, the paper traces some of the ideas and observations that provided a framework for The Edge of the Stage. The thesis consists of a text and a videotape. The tape is 18 minutes long, in color, with sound, and is a transfer onto 3/4" video from film.</Abstract>
<Access xmlns="http://purl.org/coar/access_right"
>
</Access>
</Publication>