The Relationship between the Original and the Copy in a Work of Performance - Essay Example

? Essay Discuss the relationship between the live and the recorded, or the original and the copy, as they are exhibited or explored in a work of performance, film, music or visual art. Several theories have examined and evaluated the relation or difference between the mediatised or recorded and live performance. According to the contemporary theory, the performances generally depend upon the synthesis of the live or the recorded version. If there is the rivalry or competition or oppositeness between them, then these two versions can take place in a particular arena sort. It will help the critiques to judge and examine the Vetter mode of performance depending upon the power of each and every aspect. Moreover, quality of a mode generally plays a significant role that help to enhance the quality of performance. This can destroyed by the interaction of these tow mode of work performances. Several characteristics of the recorded and live version have parallel relation or similarities. The connection or integration of these two aspects can diminish or exploit the subtler differences between them. Moreover, several social and communal issues can rise due to the integration of the versions. According to Patrice Pavis (2000), certain artistic motive for the stage video or music performance can be applied to use any of the existing recorded media. These things generally include the redirection of the emphasizing and attention to the contrast between the living actor, stage environment and stimulations of several audiences of representation and fiction. Sontag has argued that, the utilization of film in the live performance is generally stereotyped version. It has been restricted the fantastic scenes or the dream sequence type moments. These arguments and several academic statements suggest that, there are several forms of ways that can manipulate the recorded or live version within the similar environment. It might work in a better way than the others. Using these things as the springboard, several authors have suggested and recommended that, these two modes can exist effectively in the systems as the counterparts. According to the first option of Pavis, the old ides need to be reinforced in order to redirect the attention. Moreover, the author has recommended that recorded and life version need to maintain a particular distance. As the integration n of these two versions can hamper a stage performance or any work performance considering music or several art curriculums. Integration of these types of modes can affect the performance goal. Conflict between the two performance mode and difference can representations are the other two purposes that has been suggested by Pavis. A direct connection and linkage between these two modes is necessary to construct unified artistic composition. Generally, the two modes need to be interdependent. By looking into the above factors, it can state that, there are several drawbacks and advantages of the integration of these two modes (Auslander, 2012, p.34). Several social issues can hamper the work performance. Integration of these two versions can create huge chaos. Copyright issues regarding recording can affect tan high quality performance. The purpose of this study is to reflect the ethical issues surrounded by the relationship between the recorded and live version. The inception of recording and live technology can influence the existence of each others. This study will address the roles of each and every issues related to the society, community and property rights. Considering the differences and integration of these two versions, two aspects can be drawn effectively. These aspects are educational and professional. The purpose of the recorded and life media is to communicate with the expression of the values, motivation, sorrow, joy, culture and emotion of the human beings. Over the past decades, it was the live media that has played a major role to cover all the performances. Now it is identical that, there are several recorder media sources that are used to cover the work performances, such as live music or dance stage programme. The purpose of any kind of art performance is the expression and communication of the emotion, culture and values of human beings. Socially and ethically, misuse inevitably and unforeseen intentions can arise, which was not considered in previous cases. In examining and realizing the core values of live music, there are four different purposes of intention that helps the performer to achieve the performance goals. The four purposes of intentions are communication & self expression, status, power & wealth, art form preservation and self-esteem & self-improvement. Live or recorded performance can also be performed as the therapy. Several studies have referred that these types of version generally reduce the stress of the performers. Taking business ethics into the consideration, it can state that, this recorded version is inadequate practice of business. It is the responsibility of the recorded Medias to take the permission of the host Medias to use the print or films. Otherwise, the organizations can face several legal challenges. In terms of comparison of these two media sources, it can state that the quality of the coverage is of supreme quality. On the other hand, it can state that the quality of the films of recorded version can damage the quality of the audio and video. Therefore, it is feasible that, the integration of the live and recorded media sources can damage the quality of a stage performance. The effective audio and visual quality of a live source can clarify all the aspects clearly to the audiences or the stage performance. On the other hand, lack of promptness, low quality of volume, audio and video quality can hamper a stage performance, as the performer cannot copy the version adequately (Schneider, 2011, p. 81). Therefore, it is highly recommended that, the performers’ should always tend to copy from the live version. Moreover, the performance and activity offered by the recorded versions cannot be covered adequately. Actors’ movement, expression and coverage of every single aspect can provide enjoyment to the audiences. Therefore, the risk of inadequate performance coverage can hamper the audio and video quality. The leading organizations around the globe are trying to capitalize on the advantage that has been created due to the globalization. After the Second World War, the global economy has reformed drastically. Several organizations have expanded their business in several potential countries. Integration of product or service quality, advanced and modern information technology and mode of service has brought the efficiency in the business process of several organizations. Day-by-day, it can identified that, the demand of people for a single product has changed and several aspects have increased. In this present era of globalization, people now prefer quality service. They don’t bother about the quality of the products, as it is known to all that, due to globalization, several potential organizations are trying to compete with each other on the basis of the superior quality of the products. Therefore, people know that they have several options and substitute in terms of product lines. But it is the customer service factor that is a key factor for the customers. However, in terms of music and video industry, there are several media houses have established after 1980s. Now-a-days, these organizations used to cover the live performances and make a copyright of those videos and audios. Making a copyright of all the footages can help the organizations to avoid the risk of piracy. Quality of a mode generally plays a significant role that help to enhance the quality of performance. This can be destroyed by the interaction of these tow mode of work performances. Several characteristics of the recorded and live version have parallel relation or similarities (Berger, 2001, p.76). The connection or integration of these two aspects can diminish or exploit the subtler differences between them. These things generally include the redirection of the emphasizing and attention to the contrast between the living actor, stage environment and stimulations of several audiences of representation and fiction. Sontag has argued that, the utilization of film in the live performance is generally stereotyped version. Over the past decades, it was the live media that has played a major role to cover all the performances. Certain artistic motive for the stage video or music performance can be applied to use any of the existing recorded media. Several social issues can hamper the work performance. Integration of these two versions can create huge chaos. Copyright issues regarding recording can affect tan high quality performance. The inception of recording and live technology can influence the existence of each others. Considering the differences and integration of these two versions, two aspects can be drawn effectively (Frith, 2004, p.47). These aspects are educational and professional. The purpose of the recorded and life media is to communicate with the expression of the values, motivation, sorrow, joy, culture and emotion of the human beings. Over the past decades, it was the live media that has played a major role to cover all the performances. The copyright laws generally protect the musical works or performances. If a company make a copyright for a version, then other organizations cannot reproduce the same version without taking permission from the host organization. It can reflect on the publishing and broadcasting networks too. Now, in terms of sound recording, organizations cannot copy the sound or tracks of other’s copyright version (Leach, 2003, p. 3). If the organization does so, then they have to face several legal issues. Digital domain is another important aspect. The organization used to protect or copyright any video source or audio sources due to the utilization of this digital domain. This tool helps the organization to collect information from the different sources. Therefore, collection and processing of information takes huge time and cost. Therefore, the organization used to copyright their information. If they noticed that, any other source is copying their information, then they have the right to file a legal case against the other source of media. Several arguments and academic statements suggest that, there are several forms of ways that can manipulate the recorded or live version within the similar environment. It might work in a better way than the others (Marshall, 2010, p. 12). Using these things as the springboard, several authors have suggested and recommended that, these two modes can exist effectively in the systems as the counterparts. As the integration n of these two versions can hamper a stage performance or any work performance considering music or several art curriculums. Integration of these types of modes can affect the performance goal. Conflict between the two performance mode and difference can representations are the other two purposes. Quality of a source can be destroyed by the interaction of these tow mode of work performances. Quality of a mode generally plays a significant role that help to enhance the quality of performance. Several characteristics of the recorded and live version have parallel relation or similarities. The connection or integration of these two aspects can diminish or exploit the subtler differences between them. The study has determined the connection between the record and live work performance. The study has evaluated that, there are several limitation of the integration of the live and recorded work performance version; several social and legal issues can hamper the performance of an organization. Therefore, it can state that, the organization should copyright their live coverage in order to avoid several issues and ethical threats. Moreover, at the end of the day, a programme or performance can successful only due to the live version. References Auslander, P., 2012. Liveness: Performance in a mediatised Culture. London: Routledge. Berger, M., 2001. Guide to Chamber Music. Philadelphia: Jessica Kingsley. Frith, S., 2004. Popular Music. Routledge: London. Schneider, R. 2011. Reenactment. Francis and Taylor: London. Marshall, L. 2010. Bootlegging: Romanticism and Copyright in the Music Industry. Sage: USA. Leach, J. 2003. Music Copyright Basics. Alfred Music Publishing. UK. Read More