表演数字技能:评估表演艺术行业当前和未来数字技能需求的框架

IF 0.7 Q4 BUSINESS Arts and the Market Pub Date : 2022-02-14 DOI:10.1108/aam-09-2021-0054
Aleksandra Webb, James Layton
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引用次数: 4

摘要

目的新冠肺炎疫情加速了采用数字方式制作作品和接触表演艺术等艰苦行业观众的需求。在疫情后复苏的背景下,本文探讨了数字表演的概念,并提出了目前与表演作品的数字制作和共享相关的数字技能分类框架。它还旨在审查苏格兰大学表演艺术培训中目前提供的数字技能,并提出推动表演教育中加速数字技能发展的策略。设计/方法/方法已经审查了关于数字化、数字技能和数字绩效的文献,以提供背景并为拟议的数字技能绩效框架提供信息。随后,一项基于桌面的试点研究在绩效领域选择了15所苏格兰高等教育机构,并分析了其公开的数字技能课程文件。调查结果虽然所有方案规范都提到了“数字投资组合”和“数字绩效”的使用,但几乎没有关于“基线”(可转移)和“特定”(技术)数字技能(如使用特定技术的能力)的具体细节。更值得注意的是,完全没有与数字审美身份相关的内容。创新性/价值提升未来的数字能力似乎在当前尤为重要。本文对表演艺术背景下的数字技能进行了有用的分类,高等教育项目可以利用这些技能来更新课程,为准备工作的毕业生做好准备,并探索该行业在疫情后长期复苏的技术机会。
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Digital Skills for Performance: a framework for assessing current and future digital skills needs in the performing arts sector
PurposeThe COVID-19 pandemic has accelerated the need to embrace digital ways of producing work and reaching audiences in the hard-hit sectors such as performing arts. In the context of post-pandemic recovery, this paper explores the notion of digital performance and proposes a framework for categorisation of digital skills currently associated with the digital making and sharing of performance work. It also aims to review the current digital skills offering in the performing arts training at Scottish universities and suggests strategies to drive accelerated digital skills development in performance education.Design/methodology/approachLiterature on digitalisations, digital skills and digital performance have been reviewed to provide the context and inform the proposed Digital Skills for Performance Framework. Subsequently, a pilot desk-based study selected 15 Scottish Higher Education Institutions in the area of performance and analysed their publicly available programme documentation for the presence of digital skills.FindingsWhile all of the programme specifications mentioned the use of “digital portfolios” and “digital performance”, there was little specific detail concerning “baseline” (transferable) and “specific” (technical) digital skills such as competency in the use of specific technologies. More notably, there was a complete absence of content relating to digital aesthetic identity.Originality/valueUpskilling future performance makers in digital competencies seems particularly important at present. This paper offers a useful categorisation of the digital skills in performing arts context, which higher education programmes can use to update their curricula, prepare the work-ready graduates and explore technological opportunities for the sector's long-term post-pandemic recovery.
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CiteScore
1.60
自引率
28.60%
发文量
13
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