Pub Date : 2022-01-02DOI: 10.1080/14794713.2022.2040095
M. Chatzichristodoulou, K. Brown, N. Hunt, Peter Kuling, T. Sant
creative skills, processes and sensibilities.
创造性技能、过程和情感。
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Pub Date : 2022-01-02DOI: 10.1080/14794713.2022.2040289
A. Simou
Abstract In April 2021, amidst the second wave of the Covid-19 pandemic, Elias Adam’s We are in the Army Now was presented as part of the online theatre festival FUTURE N.O.W., hosted by Onassis Foundation-Stegi, one of the most well-known theatre venues and cultural institutions in Greece. Indeed, the proliferation of this hybrid kind of digital theatre which was imposed by the pandemic has triggered new discussions among theatre practitioners and theorists on the boundaries of traditional theatre, the (new?) relationship of performers and spectators, the (redefined?) concepts of space, time and liveness. Even though the current digitalization of theatre has often been seen as an imposed situation for artistic and/or financial survival, it still, however, has offered the space for the transgression of theatrical and personal boundaries, creating new trajectories of artistic and political expression. In this article, it will be argued that Elias Adam’s mise en scène constitutes a brilliant example of queer, digital theatre, which has managed to creatively integrate the unprecedented conditions of the pandemic, making some strong political points in a highly aesthetic form with pop and social media references.
摘要2021年4月，在第二波新冠肺炎疫情中，Elias Adam的《我们现在在军队》作为在线戏剧节FUTURE N.O.W.的一部分展出，该节由希腊最知名的戏剧场所和文化机构之一Onassis Foundation-Stegi主办。事实上，这种由疫情强加的混合型数字剧院的激增，引发了剧院从业者和理论家对传统剧院的边界、表演者和观众的（新的）关系、空间、时间和生活的（重新定义的）概念的新讨论。尽管目前的戏剧数字化经常被视为艺术和/或财务生存的一种强加情况，但它仍然为超越戏剧和个人界限提供了空间，创造了艺术和政治表达的新轨迹。在这篇文章中，有人认为，Elias Adam的mise en scène是酷儿数字戏剧的一个光辉例子，它成功地创造性地融合了疫情带来的前所未有的条件，以高度美学的形式与流行音乐和社交媒体的参考提出了一些强有力的政治观点。
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Pub Date : 2022-01-02DOI: 10.1080/14794713.2022.2031801
Néill O’dwyer, Gareth W. Young, A. Smolic
ABSTRACT Site-specific performances are shows created for a specific location and can occur in one or more areas outside the traditional theatre. Social gathering restrictions during the Covid-19 lockdown demanded that these shows be shut down. However, site-specific performances that apply emergent and novel mobile digital technologies have been afforded a compelling voice in showing how performance practitioners and audiences might proceed under the stifling constraints of lockdown and altered live performance paradigms, however they may manifest. Although extended reality (XR) technologies have been in development for a long time, their recent surge in sophistication presents renewed potentialities for site-specific performers to explore ways of bringing the physical world into the digital to recreate real-world places in shared digital spaces. In this research, we explore the potential role of digital XR technologies, such as volumetric video, social virtual reality (VR) and photogrammetry, for simulating site-specific theatre, thereby assessing the potential of these content creation techniques to support future remote performative events. We report specifically on adapting a real-world site-specific performance for VR. This case study approach provides examples and opens dialogues on innovative approaches to site-specific performance in the post-Covid-19 era.
{"title":"XR Ulysses: addressing the disappointment of cancelled site-specific re-enactments of Joycean literary cultural heritage on Bloomsday","authors":"Néill O’dwyer, Gareth W. Young, A. Smolic","doi":"10.1080/14794713.2022.2031801","DOIUrl":"https://doi.org/10.1080/14794713.2022.2031801","url":null,"abstract":"ABSTRACT\u0000 Site-specific performances are shows created for a specific location and can occur in one or more areas outside the traditional theatre. Social gathering restrictions during the Covid-19 lockdown demanded that these shows be shut down. However, site-specific performances that apply emergent and novel mobile digital technologies have been afforded a compelling voice in showing how performance practitioners and audiences might proceed under the stifling constraints of lockdown and altered live performance paradigms, however they may manifest. Although extended reality (XR) technologies have been in development for a long time, their recent surge in sophistication presents renewed potentialities for site-specific performers to explore ways of bringing the physical world into the digital to recreate real-world places in shared digital spaces. In this research, we explore the potential role of digital XR technologies, such as volumetric video, social virtual reality (VR) and photogrammetry, for simulating site-specific theatre, thereby assessing the potential of these content creation techniques to support future remote performative events. We report specifically on adapting a real-world site-specific performance for VR. This case study approach provides examples and opens dialogues on innovative approaches to site-specific performance in the post-Covid-19 era.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"29 - 47"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49509426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/14794713.2022.2040290
Danai Liodaki, Giorgos Velegrakis
ABSTRACT The peculiar circumstances of the COVID-19 pandemic inevitably lessened the possibilities of physical proximity while a multitude of functions and activities were transferred to the digital space, theatre included. As a result, many cultural institutions, theatrical organisations and theatre artists were forced to experiment with theatrical practices that did not involve the element of physical coexistence between audience and performers. This paper attempts to investigate the outcome of a theatrical event that lacks a shared physical space between the performers and the audience, by focusing on five typical examples of such theatrical experimentations in mid-pandemic Greece. The five experimentations are researched under three analytical categories, namely ‘space’, ‘time’ and ‘other space and time’. The main questions addressed are what is new, what is transformed and what is missing when theatrical practices are forced to transfer to the digital world. The focus is on both the performers and the audiences, therefore semi-constructed interviews – with actors, directors and audience members – were held. Finally, conclusion is reached regarding those transfers and the transformative power of the theatrical praxis in physical and digital environments.
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Pub Date : 2022-01-02DOI: 10.1080/14794713.2022.2036495
M. Hankwitz
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Pub Date : 2022-01-02DOI: 10.1080/14794713.2022.2036489
Benedetta Piccio, I. Helgason, Chris Elsden, Melissa Mhairi Terras
ABSTRACT When the pandemic began to affect the performance world, both festival artists and producers started to adopt creative approaches to moving their work online. In the study presented here, we focus on the 2020 Edinburgh Festival Fringe, which offered a unique opportunity to understand how performers coped with the enforced switch to digital. Underpinning the Fringe Festival ethos is the attitude of experimentation, and we propose that there is much to learn from the response of performers and producers to this unprecedented situation. As one interviewee put it; ‘we got given a hefty dose of lemons, and the point of all of this was, just go and make lemonade and see what happens’ (Yvette). In this article, we focus on the challenge of managing the audience experience in the digital space, particularly before and after a performance. We note that familiar rituals play a key role for physical audiences and we position this idea within the Trajectories Framework, identifying coherent journeys through a user experience (Benford and Giannachi 2011. Performing Mixed Reality. The MIT Press. ISBN:978-0-262-01576-9), in order to frame it with digital audiences in mind. We provide recommendations regarding aspects for performers and producers to address as online and digital becomes an increasingly accepted part of the festival landscape.
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Pub Date : 2022-01-02DOI: 10.1080/14794713.2021.2024398
A. Baía Reis, M. Ashmore
ABSTRACT With the advent of the Covid-19 pandemic, theatre and performing artists needed to find creative and safe solutions for continuing to do their work. Online video conference tools and virtual reality (VR) platforms seemed like good opportunities to explore new ways of connecting their art with their audiences. In this emergent ecosystem, there has been a specific interest in experimenting with VR social platforms given that its inherent technologies enable profoundly interactive experiences. Theatre companies and other creative projects like the Royal Shakespeare Company, Double Eye Productions or La Cuarta Pared VR have been producing cutting-edge live theatre experiences in VR that question the very essence of what live performance is all about. Triggered by the need to understand what is conceptually and artistically involved in these emergent experiences, the authors outlined an in-conversation piece combining both academic insight and reflective and creative writing. Drawing from netnographical and arts-based fieldwork in VR platforms, as well as key studies in theatre, performance, immersive media, gaming and other related fields, the goal of this paper is to present a gateway for a conceptual framework consisting of a series of foundational features and practical guidelines that define live theatre and performance in VR.
{"title":"From video streaming to virtual reality worlds: an academic, reflective, and creative study on live theatre and performance in the metaverse","authors":"A. Baía Reis, M. Ashmore","doi":"10.1080/14794713.2021.2024398","DOIUrl":"https://doi.org/10.1080/14794713.2021.2024398","url":null,"abstract":"ABSTRACT With the advent of the Covid-19 pandemic, theatre and performing artists needed to find creative and safe solutions for continuing to do their work. Online video conference tools and virtual reality (VR) platforms seemed like good opportunities to explore new ways of connecting their art with their audiences. In this emergent ecosystem, there has been a specific interest in experimenting with VR social platforms given that its inherent technologies enable profoundly interactive experiences. Theatre companies and other creative projects like the Royal Shakespeare Company, Double Eye Productions or La Cuarta Pared VR have been producing cutting-edge live theatre experiences in VR that question the very essence of what live performance is all about. Triggered by the need to understand what is conceptually and artistically involved in these emergent experiences, the authors outlined an in-conversation piece combining both academic insight and reflective and creative writing. Drawing from netnographical and arts-based fieldwork in VR platforms, as well as key studies in theatre, performance, immersive media, gaming and other related fields, the goal of this paper is to present a gateway for a conceptual framework consisting of a series of foundational features and practical guidelines that define live theatre and performance in VR.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"7 - 28"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46018112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/14794713.2022.2031800
R. Mosse, Janina Janke, Judith König, Christian Stein, Nina Tecklenburg
ABSTRACT This document offers an overview of the artistic research project Viral Theatres, which documents the radical changes in theatre aesthetics and infrastructure during the Covid-19 pandemic by building an online multimedia living archive that tracks these developments in interviews, video documentaries, rehearsal residencies, and case studies. Through a survey of five exemplary case studies we show how significantly the tools and practices of theatre have shifted during the pandemic and suggest that these examples belong to a reconceptualization of the idea of theatre per se. In creating an online Living Archive platform that makes these and other case studies and pandemic material accessible, Viral Theatres contributes to creative documentation of pandemic culture.
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Pub Date : 2021-12-26DOI: 10.1080/14794713.2021.2018222
Joanne Scott
ABSTRACT This article offers a datalogical reading of online performance. In constructing the framework for this new mode of analysing online, computationally centred performance practice, it draws on discussions of data and the datalogical in Blackman [Blackman, L. 2019. Haunted Data: Affect, Transmedia, Weird Science. London: Bloomsbury Academic]; Clough et al [Clough, P. T., K. Gregory, B. Haber, and R. Scannell. 2015. “The Datalogical Turn.” In Non-representational Methodologies: Re-envisioning Research, edited by P. Vannini. London: Taylor & Francis Group] and Chun [Chun, W. 2016. Updating to Remain the Same: Habitual New Media. Cambridge, MA: The MIT Press], as well as the practices of surveillance capitalism outlined by Zuboff [The Age of Surveillance Capitalism: The Fight for the Future at the New Frontier of Power. London: Profile Books]. In conducting the analysis, attention is specifically paid to data as a ‘process of translation’ [Blackman, L. 2019. Haunted Data: Affect, Transmedia, Weird Science. London: Bloomsbury Academic], how the audience-participant as data-subject is identified and known and the ways in which data passes in and out of bodies in these works. In looping together these underlying computational happenings with the dramaturgical practices of the performances, I argue that a richer and expanded perspective of online performance practice is afforded – one which opens up the relationships between what we see, feel and experience and the other unseen, but present happenings centred in data exchange and processing within the events in question.
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