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‘The closest and the farthest away’: telling intermedial spatial stories in National Theatre Live – the case of Julius Caesar “最近的和最远的”:讲述国家剧院现场的中间空间故事——朱利叶斯·凯撒的案例
Q1 Arts and Humanities Pub Date : 2023-04-06 DOI: 10.1080/14794713.2023.2196874
Yang Zhou
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引用次数: 0
Mixed reality in threatened environments 受威胁环境中的混合现实
Q1 Arts and Humanities Pub Date : 2023-04-06 DOI: 10.1080/14794713.2023.2196895
Ian Garrett
ABSTRACT This article considers the ecoscenographer’s use of technologies to ‘timeshift’ performances. Timeshifting refers to watching locally recorded content after its originally scheduled broadcast. It explores the evolution, refinement, and emergent issues related to applying this approach to performing relationships within threatened environments, including how they relate to notions of ‘hauntology’ in highlighting and collapsing time in reference to climate change. The article reviews the cultivation of new technologies to provide located media in remote locations, such as: Dance Exchange’s 500 Miles/ 500 Stories, Out of Box Productions’ Rallentando, and more recent projects including Toasterlab’s Groundworks and park-based projects, Swim Pony’s TrailOff, The Only Animal’s 1000-Year Theatre, and Nakai Theatre’s Landscape Theatre. These projects establish a trajectory of emplaced mixed reality practice. This includes practical production topics such as asymmetrical data infrastructure and the trade-offs of accessible technology. It considers how gaming (i.e. open world games) and 360VR provide tools for scenographers to stage spatial performances that examine the deep performativity of space over time despite the limitations resulting from the phenomenology of archive.
本文考虑了生态舞台设计师使用技术来“移时”表演。移时是指在当地录制的节目播出后观看。它探讨了与应用这种方法在受威胁的环境中执行关系相关的演变,改进和紧急问题,包括它们如何与“鬼魅学”的概念联系起来,在参考气候变化时突出和崩溃时间。本文回顾了在偏远地区提供现场媒体的新技术的培养,例如:Dance Exchange的500 Miles/ 500 Stories, Out of Box Productions的Rallentando,以及最近的项目,包括Toasterlab的Groundworks和公园项目,Swim Pony的TrailOff, The Only Animal的1000年剧院和Nakai剧院的景观剧院。这些项目建立了嵌入混合现实实践的轨迹。这包括实际的生产主题,如不对称数据基础设施和可访问技术的权衡。它考虑了游戏(即开放世界游戏)和360VR如何为场景设计人员提供工具,以便随着时间的推移检查空间的深层表现力,尽管档案现象学造成了限制。
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引用次数: 0
In search of synchresis: an examination of compositional approaches in new audiovisual works for solo electric guitar and visual projections 寻找同步性:对独奏电吉他和视觉投影新视听作品中作曲方法的考察
Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1080/14794713.2023.2183337
Jonathan Fitzgerald
ABSTRACT This paper examines the interaction of sound and vision in audiovisual works for solo electric guitar, providing an overview of existing compositions before exploring in depth the approaches utilised in two new works commissioned by the author. Multimedia works which combine sound and vision represent a minority of the contemporary western art music repertoire, and are rarer still in works involving the electric guitar. The use of visuals in the small literature of audiovisual works for solo electric guitar varies widely, ranging from pre-recorded videos which simply play back over the course of a performance with no temporal alignment between sound and vision, to complex lighting mechanisms which respond to the music in real-time with clear parameter mapping. The bulk of the repertoire, however, demonstrates limited gestural synchronisation between the two media, with composers creating audiovisual cohesion through extra-temporal means. The works commissioned by the author – Svart-Hvít Ský á Himni by Icelandic composer Gulli Björnsson, and especially Akrasia by Australian composer Victor Arul – run counter to this trend, situating them as outliers which push the boundaries of parametric mapping in the repertoire for solo electric guitar and visuals.
摘要本文探讨了电吉他独奏作品中声音和视觉的相互作用,对现有作品进行了概述,然后深入探讨了作者委托创作的两部新作品中使用的方法。将声音和视觉结合在一起的多媒体作品代表了当代西方艺术音乐曲目中的少数,在涉及电吉他的作品中更为罕见。在独奏电吉他视听作品的小型文献中,视觉效果的使用差异很大,从预先录制的视频到复杂的照明机制,这些视频只是在表演过程中回放,声音和视觉之间没有时间上的一致性,这些机制通过清晰的参数映射实时响应音乐。然而,大部分曲目展示了两种媒体之间有限的手势同步,作曲家通过额外的时间手段创造了视听凝聚力。作者——冰岛作曲家古莉·比约恩松的Svart Hvít SkýáHimni,尤其是澳大利亚作曲家维克托·阿鲁尔的Akrasia——委托创作的作品与这一趋势背道而驰,将它们定位为局外人,在独奏电吉他和视觉效果的曲目中突破了参数映射的界限。
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引用次数: 0
Pseudorandom: generative animation as performance in Emergent (2020–2022) 伪随机:生成动画在Emergent中的表现(2020-2022)
Q1 Arts and Humanities Pub Date : 2023-02-21 DOI: 10.1080/14794713.2023.2179784
E. Putnam
ABSTRACT The body is the database of lived experience. Emergent was created during COVID-19 from the desire to explore the extended possibilities of digital performance beyond lens-based media. The work includes generative animations and sound compositions using data collected from a consumer fitness tracker worn since the start of the COVID-19 pandemic in 2020. As a portrait of experience through the data body (as both body of data and body producing data), Emergent engages with the memories of the flesh, becoming the impetus for aesthetic encounters through digital performance. In this article about the work, Putnam describes how it was produced, provides a detailed overview of the work and its theoretical context, and discusses how it functions as a digital performance between the artist and computer. The result is a work where data visualisation and sonification generates ambiguity, rather than clarity, introducing difference in how biometric sensing devices are used and understood.
身体是生活经验的数据库。Emergent是在新冠肺炎期间创建的,旨在探索基于镜头的媒体之外的数字性能的扩展可能性。该作品包括使用自2020年新冠肺炎疫情开始以来佩戴的消费者健身追踪器收集的数据生成动画和声音作品。作为通过数据体(作为数据体和产生数据的身体)体验的画像,Emergent参与了对肉体的记忆,通过数字表演成为审美体验的推动力。在这篇关于这件作品的文章中,Putnam描述了它是如何制作的,对这件作品及其理论背景进行了详细的概述,并讨论了它如何作为艺术家和计算机之间的数字表演发挥作用。其结果是,数据可视化和超声处理产生了模糊性,而不是清晰度,从而在生物识别传感设备的使用和理解方面产生了差异。
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引用次数: 0
Data embodiment: approaching the body as a choreographic medium for performing abstract data 数据体现:将身体作为表演抽象数据的舞蹈媒介
Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/14794713.2023.2175105
Lins Derry
ABSTRACT The motivation to make information more accessible in data communication – physically to the senses and culturally to different audiences – has led designers to experiment, for example, in data physicalization and data sonification. Experimentation overlapping data communication and the performance arts suggests another practice is emerging. Calling it data embodiment, I define the term as a communicative and artistic method that approaches the body as a choreographic medium to physicalize and perform abstract data. The intent of this paper is to sufficiently delineate the space where bodily movement and abstract data have begun to intermingle across several milieu under the concept. The paper begins by contextualizing data embodiment in design, then continues by observing how choreographers have previously approached dance as data, and finishes with a case study where an environmental migration dataset is choreographed. A brief section on human-centered datasets and the surveillant technologies that produce them peppers the overarching discussion on bodily movement and abstract data. By reconstituting data in time and space, especially in the context of performance, otherwise sterile datasets are shown to become more physically and culturally accessible as well as aesthetically expressive.
使信息在数据通信中更容易获得的动机-物理上的感官和文化上的不同受众-导致设计师进行实验,例如,在数据物理化和数据声音化。数据通信和表演艺术重叠的实验表明,另一种做法正在出现。我将其称为数据具体化,将其定义为一种交流和艺术方法,将身体作为舞蹈媒介,将抽象数据具体化和表演。本文的目的是充分描绘空间,在这个概念下,身体运动和抽象数据已经开始混合在几个环境中。本文首先将数据体现在设计中,然后继续观察编舞者以前如何将舞蹈作为数据处理,并以一个环境迁移数据集编排的案例研究结束。关于以人为中心的数据集和产生这些数据集的监控技术的简短章节,将对身体运动和抽象数据的总体讨论置于次要位置。通过在时间和空间上重构数据,特别是在性能的背景下,否则枯燥的数据集显示出在物理和文化上变得更容易访问,以及在美学上更具表现力。
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引用次数: 0
Ecodramaturgies: theatre, performance and climate change 生态戏剧:戏剧、表演和气候变化
Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/14794713.2023.2170623
Sarah Blissett
Lisa Woynarski ’ s Ecodramaturgies engages with vital questions regarding new approaches to performance-making and analysis in our current climate crisis. The book presents an abundance of case studies concerned with ecology across theatrical modes of storytelling, production and representation. A range of critical concepts are presented within a dual framework of ecodramaturgies and intersectional ecologies, which work together to reveal the nuanced socio-political and material implications of di ff erent artistic examples in the context of climate change
Lisa Woynarski的Ecodramaturigies涉及到关于在当前气候危机中制定和分析绩效的新方法的重要问题。这本书提供了大量关于生态的案例研究,涉及讲故事、制作和表现的戏剧模式。在生态戏剧和交叉生态的双重框架内提出了一系列批判性概念,这些概念共同揭示了气候变化背景下不同艺术实例的微妙社会政治和物质含义
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引用次数: 1
By Slight Ligaments 轻微韧带
Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/14794713.2023.2170628
Kate Antosik-Parsons
offers different experiences. As a participant in the park, I had to follow themap carefully not to get lost and, therefore, to play the theatre-game successfully. The excitement, curiosity as well as light tension maintained my engaged participation all the way through. Contrastingly, as a remote viewer without such a mission to get to the final spot of the route, I was gradually discouraged to continue watching the participants’ repeated action of walking around and staring at their mobile phones. In addition, while the thirty-minute-long documentation delivers the story faithfully, it becomes noticeable that the ‘performing’ participants in the video screen are silenced. In some scenes, the audience’s verbal reaction is visible but inaudible. That is, despite the fact that each audience member is not a silenced spectator in a darkened auditorium but ultimately a performer, the focus of the documentation is not on the performing participants. Without their participation and interaction, Tamara cannot take place. Likewise, without a more participant-centred approach, the sharing of immersive experience in digital space cannot afford remote spectators an engaging experience of Tamara. The case of Tamara suggests a way of extending the spectating capacity of immersive performance. The subsidised documentation of interactive cultural experience widened public access to the creative work beyond geographical and physical boundaries. In the (post)pandemic age, such an expanded artistic experience and its contribution to increased global connectivity cannot be underestimated as before. With a more sharpened focus on the audience as performing participants, the digitally documented and shared immersive cultural experience will lead to a creation of a more fully functioning artistic ecology online. The potential – as well as limitations – of digital spectatorship explored through this pioneering project will also offer inspiration for more advanced artistic ideas and explorations that target the post-pandemic time we are entering.
提供不同的体验。作为公园里的一名参与者,我必须小心地遵循地图,以免迷路,因此,我要成功地玩戏剧游戏。兴奋、好奇和轻微的紧张感使我始终参与其中。相比之下,作为一名没有到达路线最后地点的远程观众,我逐渐不愿意继续观看参与者反复走动和盯着手机的动作。此外,尽管30分钟长的文件忠实地讲述了这个故事,但值得注意的是,视频屏幕上的“表演”参与者被噤声了。在某些场景中,观众的言语反应是可见的,但听不见。也就是说,尽管每个观众成员都不是黑暗礼堂中沉默的观众,而是最终的表演者,但文件的重点并不是表演参与者。如果没有他们的参与和互动,塔玛拉就无法实现。同样,如果没有更以参与者为中心的方法,在数字空间中分享身临其境的体验就无法为远程观众提供塔玛拉的引人入胜的体验。塔玛拉的案例表明了一种扩大沉浸式表演观赏能力的方法。互动文化体验的补贴文件扩大了公众对创意作品的接触,超越了地理和物理界限。在(后)疫情时代,这种扩大的艺术体验及其对增强全球连通性的贡献不能像以前那样被低估。随着人们更加关注作为表演参与者的观众,数字记录和共享的沉浸式文化体验将导致在线艺术生态的创建。通过这一开创性项目探索的数字观众的潜力和局限性,也将为我们即将进入的后疫情时代提供更先进的艺术理念和探索的灵感。
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引用次数: 0
Cripping hybrid futures 瘸腿混合期货
Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/14794713.2022.2162279
Nina Mühlemann, Celestina Widmer, Y. Schmidt
ABSTRACT In this collaboratively written article, we argue that disabled performers have long since questioned notions about physicality, subjectivity, temporality and spectatorship on stage that are currently being revisited in the debate on ‘hybrid’ theatre practices during the pandemic. Disability performances, as well as hybrid theatre formats, which are now booming due to the lockdown experience, provoke discussions and discursive negotiations about what theatre is, should be and for whom, and explore boundaries of the art form. Based on these arguments, we will examine the concept of hybridity, in order to critically explore the debate on hybrid theatre in relation to disability performance practices, using the examples of the internationally recognised performing artists Neil Marcus and Sins Invalid, and challenge notions of sustainability within that discourse. We end by asking what demands a hybrid future would need to meet to accommodate the diverse realities of non-normative bodyminds.
摘要在这篇合作撰写的文章中,我们认为,残疾演员长期以来一直对舞台上的身体性、主观性、时间性和观众性的概念提出质疑,而在疫情期间关于“混合”戏剧实践的辩论中,这些概念正被重新审视。残疾表演,以及由于封锁经历而蓬勃发展的混合戏剧形式,引发了关于戏剧是什么、应该是什么以及为谁服务的讨论和讨论性谈判,并探索了艺术形式的边界。基于这些论点,我们将研究混合性的概念,以国际公认的表演艺术家Neil Marcus和Sins Invalid为例,批判性地探讨关于混合戏剧与残疾表演实践的辩论,并在这一讨论中挑战可持续性的概念。我们最后要问的是,一个混合型的未来需要满足什么样的要求,才能适应非规范性身心的不同现实。
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引用次数: 0
City Dionysia: narrating wasteland in urban life 城市酒神:叙述城市生活中的荒原
Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/14794713.2023.2177431
P. Arabindoo, Nicola Baldwin
ABSTRACT Using the centennial anniversary of TS Eliot’s The Waste Land as an opportune moment to reconsider the reflexive and the discursive in addressing themes occupying critical and creative thought, this document discusses the collaboration between a social scientist and a playwright during and in the aftermath of the COVID-19 pandemic. Its main output, a play titled Wasteland, had an understory framed by the problem-event of the lockdown as it confronted not only the negativity of wasteland but also the possibility of negating it simultaneously. The play situates itself in the privileged UCL Student Centre to probe its ‘storied matter’ through repeated re-enactments. As an encounter between words and worlds across a temporal threshold marked by ‘becoming-events’, the play draws the building into focus, diffracting it, blurring it, and finally opening it up as a wasteland. Based on the Ancient Greek theatrical tradition of City Dionysia, it relies on ‘preplays’, multiple ‘draft’ readings, to emphasise less a staged performance and more an identity text that is unhurried, unfinished, improvised and provisional. For, in the inter-subjective exchanges within this text we find ‘the sense of ongoingness’ (Berlant 2008) to inhabit the now of our (post)pandemic present.
摘要本文件以TS·艾略特的《荒原》百周年纪念为契机,重新考虑了在处理占据批判性和创造性思维的主题时的反射性和话语性,讨论了新冠肺炎大流行期间和之后,一位社会科学家和一位剧作家之间的合作。它的主要作品是一部名为《荒原》的戏剧,它有一个以封锁的问题事件为框架的下层故事,因为它不仅面临荒原的负面影响,还面临着同时否定荒原的可能性。该剧将自己安置在享有特权的伦敦大学学院学生中心,通过反复重演来探究其“传奇事件”。作为一场跨越以“成为事件”为标志的时间门槛的文字和世界之间的相遇,该剧将建筑吸引到焦点,使其衍射、模糊,最终将其开辟为一片荒地。它基于古希腊城市酒神的戏剧传统,依靠“预备曲”,多个“草稿”阅读,强调的不是舞台表演,而是从容、未完成、即兴和临时的身份文本。因为,在本文中的主观间交流中,我们发现“持续感”(Berlant 2008)存在于我们(后)疫情的当下。
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引用次数: 0
Re-socializing emptied spaces: a queer-feminist performance, the theatrical apparatus and its (post)pandemic epistemology 重新社会化空虚的空间:酷儿女权主义表演,戏剧设备及其(后)大流行的认识论
Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/14794713.2023.2172523
Ulf Otto
ABSTRACT The suspension of operations during lockdowns facilitated a new perspective on performance: the absent came to appear as a determining factor of not only the pandemic, but became evident as constitutive of late modern theater cultures. Based on a description of the lockdown performance A Room of Our Own (2021) by the feminist collective Swoosh Lieu, it is shown how contemporary practice is relocating performance within its entanglement with the social spaces of reproduction. Emphasizing the realities of exclusion that the performing arts rest upon, the paper argues against a theory of performance as an enclosed event of participation based on an idealized idea of the social as a homogeneous microcosm. It calls instead for an empirics of assembly, and more generally to question a thinking of performance along the lines of interaction and communication. Adopting Karen Barad's concept of posthuman performativity to Theater Studies, it foregrounds the mediating function of performance in its articulation of the world and proposes to reconceptualize theater as an epistemological apparatus to invigorate a strong program of theater studies that refocuses on the socio-political real of theatricality.
摘要封锁期间暂停运营促进了对表演的新视角:缺席不仅是疫情的决定因素,而且是现代晚期戏剧文化的组成部分。根据女权主义团体Swoosh Lieu对《我们自己的房间》(2021)的封锁表演的描述,展示了当代实践如何在与再生产的社会空间的纠缠中重新定位表演。本文强调了表演艺术所依赖的排斥现实,反对将表演视为一种封闭的参与事件的理论,这种理论基于将社会视为同质微观世界的理想化理念。相反,它需要对组装的经验,更普遍地质疑沿着互动和沟通的路线对性能的思考。它将凯伦·巴拉德的后人类表演性概念应用于戏剧研究,强调了表演在表达世界中的中介作用,并提出将戏剧重新定义为一种认识论工具,以振兴一个强大的戏剧研究计划,重新关注戏剧的社会政治现实。
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引用次数: 0
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International Journal of Performance Arts and Digital Media
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