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We are in the Army Now: a queer, mediatized, Covid-era theater show 我们现在在军队:一场酷儿的、经过调解的新冠肺炎戏剧表演
Q1 Arts and Humanities Pub Date : 2022-01-02 DOI: 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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引用次数: 0
Remote Socials/Rapid Scratches: Meet Me At The Cemetery Gates 远程社交/快速抓挠:在墓地门口见我
Q1 Arts and Humanities Pub Date : 2022-01-02 DOI: 10.1080/14794713.2022.2028335
Milo Harries
© 2022 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. https://doi.org/10.1080/14794713.2022.2028340
©2022作者。由Informa UK Limited出版,交易名称为Taylor&Francis Group。这是一篇开放获取的文章,根据知识共享署名非商业非衍生产品许可证的条款分发(http://creativecommons.org/licenses/by-nc-nd/4.0/),允许在任何媒体上进行非商业性的重复使用、分发和复制,前提是原作被正确引用,并且没有以任何方式进行修改、改造或建立。https://doi.org/10.1080/14794713.2022.2028340
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引用次数: 0
XR Ulysses: addressing the disappointment of cancelled site-specific re-enactments of Joycean literary cultural heritage on Bloomsday XR Ulysses:解决布鲁姆斯戴取消的Joycean文学文化遗产现场再现的失望
Q1 Arts and Humanities Pub Date : 2022-01-02 DOI: 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.
摘要特定场地的演出是为特定地点制作的,可以在传统剧院之外的一个或多个区域进行。新冠肺炎封锁期间的社交聚会限制要求关闭这些节目。然而,应用新兴和新颖的移动数字技术的特定场地表演已经获得了令人信服的声音,展示了表演从业者和观众如何在封锁和现场表演模式改变的令人窒息的限制下进行,无论这些限制如何表现出来。尽管扩展现实(XR)技术已经发展了很长时间,但它们最近的成熟度激增为特定地点的表演者提供了新的潜力,他们可以探索将物理世界带入数字世界的方法,在共享的数字空间中重现真实世界的场所。在这项研究中,我们探索了数字XR技术(如体积视频、社交虚拟现实(VR)和摄影测量)在模拟特定地点剧院方面的潜在作用,从而评估了这些内容创作技术支持未来远程表演活动的潜力。我们专门报道了将现实世界中特定地点的性能用于VR。这种案例研究方法提供了例子,并就新冠肺炎后时代特定地点绩效的创新方法展开了对话。
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引用次数: 8
Theatre minus physical coexistence – a glimpse into theatrical experimentations in Greece during the pandemic 戏剧减去物理共存——疫情期间希腊戏剧实验一瞥
Q1 Arts and Humanities Pub Date : 2022-01-02 DOI: 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.
摘要新冠肺炎大流行的特殊情况不可避免地减少了物理接近的可能性,同时许多功能和活动被转移到了包括剧院在内的数字空间。因此,许多文化机构、戏剧组织和戏剧艺术家被迫尝试不涉及观众和表演者身体共存元素的戏剧实践。本文试图通过关注疫情中期希腊此类戏剧实验的五个典型例子,来调查表演者和观众之间缺乏共享物理空间的戏剧活动的结果。这五项实验是在三个分析类别下进行研究的,即“空间”、“时间”和“其他空间和时间”。当戏剧实践被迫转移到数字世界时,所要解决的主要问题是什么是新的,什么是改变的,以及什么是缺失的。重点是表演者和观众,因此,对演员、导演和观众进行了半结构化的采访。最后,得出了关于这些转移以及戏剧实践在物理和数字环境中的变革力量的结论。
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引用次数: 2
‘Be Like Body - Obsolete’ “像身体一样-过时”
Q1 Arts and Humanities Pub Date : 2022-01-02 DOI: 10.1080/14794713.2022.2036495
M. Hankwitz
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引用次数: 0
Viral Theatres’ Pandemic Playbook - Documenting German theatre during COVID-19 病毒剧院的大流行剧本——记录COVID-19期间的德国剧院
Q1 Arts and Humanities Pub Date : 2022-01-02 DOI: 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.
本文概述了艺术研究项目“病毒剧院”,该项目通过建立一个在线多媒体生活档案,以采访、视频纪录片、排练驻地和案例研究的方式跟踪这些发展,记录了2019冠状病毒病大流行期间剧院美学和基础设施的根本变化。通过对五个典型案例研究的调查,我们表明,在大流行期间,戏剧的工具和做法发生了重大变化,并表明这些例子属于对戏剧本身概念的重新概念化。通过创建一个在线生活档案平台,使这些和其他案例研究和大流行材料可以访问,病毒剧院有助于创造性地记录大流行文化。
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引用次数: 1
From video streaming to virtual reality worlds: an academic, reflective, and creative study on live theatre and performance in the metaverse 从视频流到虚拟现实世界:对虚拟世界中现场戏剧和表演的学术、反思和创造性研究
Q1 Arts and Humanities Pub Date : 2022-01-02 DOI: 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.
随着Covid-19大流行的到来,戏剧和表演艺术家需要找到创造性和安全的解决方案来继续开展工作。在线视频会议工具和虚拟现实(VR)平台似乎是探索将艺术与观众联系起来的新方式的好机会。在这个新兴的生态系统中,人们对VR社交平台的实验特别感兴趣,因为其固有的技术可以实现深刻的互动体验。剧院公司和其他创意项目,如皇家莎士比亚公司、Double Eye Productions或La Cuarta Pared VR,一直在用VR制作尖端的现场戏剧体验,质疑现场表演的本质是什么。由于需要理解这些突发体验在概念和艺术上的含义,作者概述了一篇结合了学术见解、反思和创造性写作的对话文章。本文借鉴了VR平台中基于网络和艺术的实地考察,以及戏剧、表演、沉浸式媒体、游戏和其他相关领域的关键研究,旨在为定义VR中的现场戏剧和表演的一系列基本特征和实用指南组成的概念框架提供一个门户。
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引用次数: 32
A hefty dose of lemons: the importance of rituals for audiences and performers at the online Edinburgh Festival Fringe 2020 大量柠檬:在2020年爱丁堡边缘艺术节上,仪式对观众和表演者的重要性
Q1 Arts and Humanities Pub Date : 2022-01-02 DOI: 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.
摘要当疫情开始影响表演界时,艺术节艺术家和制作人都开始采取创造性的方法将他们的作品转移到网上。在这里介绍的研究中,我们重点关注2020年爱丁堡艺穗节,它提供了一个独特的机会来了解表演者如何应对被迫转向数字的情况。边缘艺术节精神的基础是实验的态度,我们认为,表演者和制作人对这种前所未有的情况的反应有很多值得学习的地方。正如一位受访者所言:我们吃了大量的柠檬,这一切的目的是,去做柠檬水,看看会发生什么”(伊维特)。在这篇文章中,我们将重点关注在数字空间中管理观众体验的挑战,特别是在演出前后。我们注意到,熟悉的仪式对实体观众起着关键作用,我们将这一想法定位在轨迹框架中,通过用户体验确定连贯的旅程(Benford和Giannachi,2011年)。表演混合现实。麻省理工学院出版社。ISBN:978-0-262-01576-9),以便将其与数字受众联系起来。随着在线和数字成为电影节越来越被接受的一部分,我们为表演者和制片人提供了一些建议。
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引用次数: 1
A datalogical reading of online performance 在线表现的数据阅读
Q1 Arts and Humanities Pub Date : 2021-12-26 DOI: 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.
摘要本文提供了在线性能的数据逻辑解读。在构建这种在线分析、以计算为中心的性能实践的新模式的框架时,它借鉴了Blackman[Blackman,L.2019中对数据和数据逻辑的讨论。闹鬼的数据:情感,跨媒体,怪异的科学。伦敦:布鲁姆斯伯里学院];Clough等人[Claugh,P.T.,K.Gregory,B.Haber和R.Scannell.2015。“数据学转向”,《非代表性方法论:重新设想研究》,P.Vannini主编。伦敦:Taylor&Francis Group]和Chun【Chun,W.2016。更新以保持不变:习惯性新媒体。马萨诸塞州剑桥:麻省理工学院出版社],以及Zuboff概述的监视资本主义实践[监视资本主义时代:在新的权力前沿为未来而战。伦敦:简介书籍]。在进行分析时,特别关注作为“翻译过程”的数据[Blackman,L.2019。闹鬼的数据:情感,跨媒体,怪异的科学。伦敦:Bloomsbury Academic],如何识别和了解作为数据主体的受众参与者,以及在这些作品中数据进出身体的方式。通过将这些潜在的计算事件与表演的戏剧实践循环在一起,我认为在线表演实践提供了一个更丰富和扩展的视角——一个打开我们所看到、感受和体验与另一个看不见的之间关系的视角,但目前发生的事情集中在所讨论的事件中的数据交换和处理上。
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引用次数: 1
A Telepresence Stage: or how to create theatre in a pandemic – project report 电视舞台:或如何在疫情中创建剧院——项目报告
Q1 Arts and Humanities Pub Date : 2021-12-19 DOI: 10.1080/14794713.2021.2015562
P. Sermon, Steve Dixon, Sita Popat Taylor, Randall Packer, S. Gill
ABSTRACT This report describes the authors’ research project ‘Telepresence Stage’, funded by the Arts and Humanities Research Council’s (AHRC) ‘COVID-19 Rapid Response’ scheme. The project aims to develop effective and affordable new approaches to connect performers from their separate homes and place them within virtual sets online where they can rehearse and perform together. The report discusses the history of telematic performance and explains how this research is using some of those established approaches to open up alternative possibilities for theatre and dance companies working in and beyond the current pandemic. To date, the project has shown how a range of telematic chromakey systems can be employed to bring a whole new level of creativity to videoconference-based performance work, freeing the performers’ bodies from the entrapment of Zoom boxes and co-locating them in specially designed 3D environments. Drawing on case studies from some of the project’s eight residencies with professional performance groups, the authors discuss how existing techniques have been adapted for different levels of experience, and how the project has offered new ways of working. Whilst the pandemic is expected to be a time-limited issue, these techniques hold value for performers and creators of theatre and dance well beyond ‘lockdown’.
摘要本报告介绍了作者的研究项目“电视舞台”,该项目由艺术与人文研究委员会(AHRC)的“新冠肺炎快速反应”计划资助。该项目旨在开发有效且负担得起的新方法,将来自不同家庭的表演者连接起来,并将他们安置在在线虚拟场景中,在那里他们可以一起排练和表演。该报告讨论了远程信息处理表演的历史,并解释了这项研究是如何利用一些既定的方法,为在当前疫情内外工作的剧院和舞蹈公司开辟替代可能性的。到目前为止,该项目已经展示了如何使用一系列远程信息处理镀铬系统,为基于视频会议的表演工作带来全新的创造力,将表演者的身体从Zoom盒子的束缚中解放出来,并将其放在专门设计的3D环境中。根据该项目八个驻地中一些驻地与专业表演团体的案例研究,作者讨论了现有技术如何适应不同水平的经验,以及该项目如何提供新的工作方式。虽然疫情预计将是一个有时间限制的问题,但这些技术对剧院和舞蹈的表演者和创作者来说具有价值,远远超过了“封锁”。
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引用次数: 5
期刊
International Journal of Performance Arts and Digital Media
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