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Relevant bibliographies by topics / Digital theatre

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Dissertations / Theses
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Academic literature on the topic 'Digital theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Digital theatre"

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Brunning, Dennis. "Digital Theatre Plus." Charleston Advisor 16, no. 3 (January 1, 2015): 10–11. http://dx.doi.org/10.5260/chara.16.3.10.

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Decheva, Violeta. "Theatre in the Digital World. The Experiment of Theater Treffen 2020." Sledva : Journal for University Culture, no. 41 (August 19, 2020): 8–17. http://dx.doi.org/10.33919/sledva.20.41.2.

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An overview and analysis of Berliner Theater Treffen 2020. Existing already for 56 years, this major European theatre festival and the most representative one for the Germanspeaking world ventured on its first online edition. COVID-19 situation has not only activated the ongoing discussions on the influence of digital technologies on theatre, but has made it a most urgent topic. It has become central because of the isolation, the sudden flood of streamings of concerts, performances, films, etc. Two topics seem especially important in the festival context. First, how to make theatre in a digital format and what kind of theatre phenomena are produced in consequence of such experiments. Second, what are the possibilities when streaming theatre productions.

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Jarvis, Liam. "Theatre and the digital." Studies in Theatre and Performance 35, no. 2 (April 2015): 164–65. http://dx.doi.org/10.1080/14682761.2015.1028733.

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Islam, Gazi Zahirul, Isrut Jahan Zinnia, Md Fokhray Hossain, Md Riazur Rahman, Aman Ullah Juman, and Al Nahian Bin Emran. "Implementation of an efficient web-based movie ticket purchasing system in the context of Bangladesh." Indonesian Journal of Electrical Engineering and Computer Science 19, no. 2 (August 1, 2020): 828. http://dx.doi.org/10.11591/ijeecs.v19.i2.pp828-836.

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<span>The ‘Movie Ticket Purchase System’ is a web-based application. In this application, people can purchase movie tickets from all movie theatres in Bangladesh. Before purchasing a ticket, people have to do registration or login. This website builds by PHP and JavaScript for back-end; HTML, CSS for front-end. All steps of the software development life cycle are addressed properly to develop and implement the software. This website has three panels: one for the Admin, one for the Theatre Assistant and another for the Customer/User. Admin can insert the theatres, and Theatre Assistant handled maximum manual works on the website like movie add, delete, stop running, screen adds, etc. This is the first website in Bangladesh where people can purchase tickets from multiple movie halls and the site is only dedicated to this purpose. The website is very user-friendly and attractive that can give comfort to the end users. Also, the theater owners that have no digital platform for selling tickets can be a member of our service and get the opportunity of using digital platform.</span>

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Wang, Chen, and Heng Li. "Built Environmental Variations Between Regular and Imax Theatres." Open House International 43, no. 4 (December 1, 2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.

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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.

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Richardson, John M. "Online “iDentity” Formation and the High School Theatre Trip." Articles 51, no. 2 (January 9, 2017): 771–86. http://dx.doi.org/10.7202/1038602ar.

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Over the years that I have taken secondary school students to the theatre, the the digital revolution has moved through schools, classrooms, and even theatres, calling into question my goal of contributing positively to students’ identity formation through exposure to live plays. Responding to calls to examine the ways in which young people’s online and offline lives are interwoven, a one-year qualitative case study of student theatregoers suggests that online settings feature prominently in students’ identity formation and that non-digital school experiences such as the theatre trip are often experienced in light of students’ digital lives. Traditional events such as a trip to the theatre are influenced by and combined with online experiences to contribute to a new “iDentity” formation.

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Ensemble, Critical Art. "Recombinant Theatre and Digital Resistance." TDR/The Drama Review 44, no. 4 (December 2000): 151–66. http://dx.doi.org/10.1162/10542040051058546.

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The Critical Acts Ensemble, CAE for short, is a tightly knit group of artists exploring intersection between art, technology, critical theory, and political activism. We have given CAE a big chunk of space to present and explain their work. Added to that is a critical essay by TDR Contributing Editor Rebecca Schneider.

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Mackenzie, Michael. "New digital technologies and theatre." ACM SIGGRAPH Computer Graphics 31, no. 1 (February 1997): 13. http://dx.doi.org/10.1145/248307.248318.

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Smith, Sophy. "Pervasive theatre." Convergence: The International Journal of Research into New Media Technologies 24, no. 3 (November 15, 2016): 321–36. http://dx.doi.org/10.1177/1354856516675253.

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This article explores the opportunities and implications for new digital writing in transmedia performance environments. This article centres on the experimental Pervasive Theatre project ( Assault Events 2014, commissioned by futuredream funded through Arts Council England), which explored the potential of online social tools to create a multimedia, collaborative and participatory work situated across multiple platforms. This project brought together researchers, artists, writers, technologists and practitioners from the interdisciplinary fields of digital writing, transmedia and performance to explore ways to develop narratives that weave together physical and online worlds, blurring the distinction between reality and fantasy, audience and performers in a way that would be exciting, immersive and participative. The project looked at different performative spaces including Facebook, Twitter, YouTube and Vines, exploring how these platforms could support the delivery of original narrative performance. This transmedia approach informed and shaped the digital writing practice, instigating new modes of working. Four aspects were of particular interest and will be explored in this article – how new writing can emerge from within online spaces rather than being translated onto them; how characteristics of different online social platforms inform style and content; how social media platforms can be used to develop narrative and character through creative collaboration with performers; and finally, how online social spaces enable the digital writer to develop a narrative framework through which audiences frame their own meaning.

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Nellhaus, Tobin. "Online Role-playing Games and the Definition of Theatre." New Theatre Quarterly 33, no. 4 (October 11, 2017): 345–59. http://dx.doi.org/10.1017/s0266464x17000483.

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Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspective, online role-playing meets the definition of theatre. But its digital environment raises another set of problems, since embodiment, space, and presence in online role-playing are necessarily unlike what we experience in traditional theatre. Here, Nellhaus brings these three aspects of performance together through the concept of embodied social presence, showing how they operate in both customary theatre and online role-playing. Tobin Nellhaus is an independent scholar who was Librarian for Performing Arts, Media, and Philosophy at Yale University. He has published mainly on the relationship between theatre and communication practices, and on critical realist theory in theatre historiography. He is the General Editor of the third edition of Theatre Histories (London: Routledge, 2016), and the author of Theater, Communication, Critical Realism (New York: Palgrave Macmillan, 2010).

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Dissertations / Theses on the topic "Digital theatre"

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Cable, Courtney T. "The Akron Civic Theatre: A Digital Presence." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1321465122.

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Rouse, Rebecca. "A new dramaturgy for digital technology in narrative theater." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/48960.

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Many contemporary theater practitioners and scholars agree that the investigation of the relationship between digital technologies and theater is an important yet relatively unexplored topic, both in theory and practice. A debate regarding the fundamental nature of performance and more specifically the quality of liveness in the face of media has been the dominant conversation on this topic. While the liveness debate is important, it is not the only angle from which to approach questions of specific types of technology and performance. This dissertation takes a different approach, while taking the liveness debate into account. This dissertation examines relevant historical and contemporary theory and practice in the area of digital technology in theater, and then describes a new method of practice and analysis in the form of a new dramaturgy. This new dramaturgy is then applied to examples of selected work and also used hands-on to create a two-part case study to try out its usefulness in practice. The first part of the case study is a production design created with the new dramaturgy in collaboration with undergraduate students within the context of a special topics course. The second part of the case study is a full-scale production by a professional director, incorporating elements of the production design created in the first part of the case study.

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Vear, Craig. "Composition portfolio : towards intermedia, sound theatre and digital opera." Thesis, University of Salford, 2011. http://usir.salford.ac.uk/26952/.

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This research programme was a practice-led investigation into the interrelationship between composition, digital technology and intermedia performance. Within the first year of this investigation Superfield [Mumbai] (2009) expanded on the intellectual ideas surrounding the notion of a Theatre of Sound and developed Sound Theatre: an experimental intermedia performance concept combining field recordings and live computer music; the mental 'seeing' evoked from sound and a theatre performance environment. One specific element developed through this piece was the collaboration between computer-performer and human-performer, augmenting the composition-performance relationship and leading to the theoretical concepts of wholeness, dimensionality and embeddedness. These ideas were interrogated through The Cape Jeremy Affair (2010), which investigated the meaning of the laptop as an autonomous performer alongside human musicians, and incorporated a 'phenomenology' of listening as it relates to music and performance embodiment. Over a period of many months these concepts were developed and became the core philosophical and theoretical argument of this programme. Each new insight was embedded into the compositional process with questions of phenomenology, performance environment, and audience engagement becoming of primary importance. Towards the end of this investigation it became apparent that this programme might be heading into areas that would traditionally be described as "opera", but without containing any of the elements one might associate with the traditional 'recipe'. The final project X\ Sentimental Journey (2011) addressed this issue, expanded on all the previous concepts, enlarged the ensemble, engaged with networking computer systems and focussed on a Total compositional/ experiential paradigm.

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Ritchie, Louise Helena. "Digital notation : new approaches to physical theatre and its documents." Thesis, Aberystwyth University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.684378.

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Coon, Sarah Marie. "Crossing the Aether-Net: Community and the Theatre of Team StarKid." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429204552.

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Grant, Ian John. "Shadows, touch and digital puppeteering : a media archaeological approach." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/80919/.

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Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the 'remediation' of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry-shadows, shadowgraphs and silhouettes-to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems-using spring networks-with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries-serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input-other than touch-can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms.

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Georgiou, Michalis. ""Digital Theatre" and "Cyber Theatre" in Drama Education at School : A study of 2 performance projects at a High-school in Eberswalde, Germany." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105834.

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The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those caused by COVID-19, can be overcome through cybertheatre. The phenomenological method is used to analyze a digital and a cyberperformance project, as theatre is an event that takes place between its creators and its spectators. With the use of digital tools in school performances a new experience emerges for students and spectators, as the "living" actor is combined with "non-human" actors. Besides, the cyberperformance provides a solution to a real problem in the midst of a pandemic crisis, as the spectators participate remotely from the comfort of their own home. In terms of interactivity, by giving the spectator the opportunity to use some information or to choose the action of the play, the performances become more interesting, while theatre is being highlighted, as an event that differs from other media such as T.V. or cinema. Finally, the dialogue that can be produced in a chat-forum in cyberperformance works as a reflection to it.

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Elias, Abad Adan Joel, Pumallihua Joel Martinez, Casella Germánico Aldair Oré, and Oscanoa Rosmery Rivera. "Plataforma virtual ticketazo." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653039.

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Este proyecto nace ante las dificultades por las que, en este año, todo el pueblo peruano está atravesando, que es el Covid - 19. En tales parámetros, hemos considerado que toda actividad comercial realizada a través del canal tradicional se vería afectado al menos durante el presente año 2020. Entonces, viendo tal situación, optamos por una alternativa la cual es referida al canal virtual. Es ahí cuando nace TicketAzo, que es una plataforma web que le brinda a los usuarios, streamings referidos a teatros musicales. Por ende, en el siguiente trabajo, presentamos todas las investigaciones que se realizaron para poder viabilizar este negocio. Para tal fin, hemos tomado las consideraciones en materia de marketing, diseño, recursos humanos, presupuestos, resultados y estimaciones. Asimismo, mostramos en efecto que, para este rubro, existen ciertos pasos que deben realizarse, tanto legales, estratégicos y operacionales. Para ello, acudimos a fuentes confiables como páginas web del Estado, entrevistas a expertos que nos permitieron llegar a la conclusión de realizar las transmisiones a través de una plataforma web. Además, las estrategias que desarrollamos apuntan a resultados tanto para el corto y largo plazo, los cuales también incluyen a los prospectos financieros destinados como gastos o inversiones para poder incrementar nuestra demanda y estabilidad en el mercado. Respecto a los conceptos operacionales, buscamos optimizar todo tipo de actividad de comprometa un sobrecosto.
This project was born due to the difficulties that the entire Peruvian people are going through this year, which is Covid - 19. In these parameters, we have considered that all commercial activity carried out through the traditional channel would be affected at least during the present year 2020. So, seeing such a situation, we opted for an alternative which is referred to the virtual channel. That's when Ticketazo was born, which is a web platform that provides users with streams referring to musical theatres. Therefore, in the following work, we present all the investigations that were carried out to make this business viable. To this end, we have taken the considerations in terms of marketing, design, human resources, budgets, results and estimates. Likewise, we show in effect that, for this item, there are certain steps that must be carried out, both legal, strategic and operational. To do this, we went to reliable sources such as State web pages, interviews with experts that allowed us to reach the conclusion of making the transmissions through a web platform. In addition, the strategies we develop aim at results for both the short and long term, which also include financial prospects intended as expenses or investments in order to increase our demand and stability in the market. Regarding operational concepts, we seek to optimize all types of activity to commit an extra cost.
Trabajo de investigación

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Ford, Vanessa Anne. "Surviving The Virtual: Crafting A New Form Of Theater For The Digital Age." Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193282.

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This thesis proposes a new genre of theater that combines participatory and interactive narratives with virtual reality technologies and traditional theatrical elements to create a form that is capable of responding to the growing desire for interactive entertainment mediums. A series of participatory narrative events, including traditional theater productions, interactive narrative/drama and role-playing games, are analyzed for their potentialities and limitations. These elements are then used to respond to scholarly writings concerning the problems of participatory narrative forms. From this analysis conclusions are drawn about the necessary elements needed to create this new genre of theater, termed interactive virtual theater, or IVT. The elements are then synthesized into a hypothetical picture of what the IVT of the future might look like.

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Nelsen, Mindy M. "Digital Identity and Performance:How Student Identity Construction can be Influenced Through Digital Social Media and Expressed Through Theatrical Performance." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5566.

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Adolescents and teens are surrounded by a myriad of influences that affect how they see and present themselves. Contemporary communication for these young people frequently happens in an online forum through digital social media. The primary purpose of this master's thesis is to examine the affect of digital social media on adolescent and teen identity construction and perception of self and other. Further research was performed to identify how that identity can be expressed through theatrical performance. The first chapter is a review of current literature, theory and practice of those within the educational paradigm who are trying to incorporate media literacy skills into contemporary pedagogy. An action research project was formulated to create lesson plans that aid students in engaging critically with digital social media and then empowering them with the skills to access, analyze, evaluate and create that media. Students then use their findings in the creation of a devised theatre piece. Chapter Two discusses the methodology involved with the gathering of the data and the process of analysis using open coding. Chapter Three presents the findings and exhibits student work and Chapter Four analyzes the findings and presents a course for future study, research and use of the findings in the contemporary drama classroom.

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Books on the topic "Digital theatre"

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Masura, Nadja. Digital Theatre. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0.

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Blake, Bill. Theatre & The Digital. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-35578-2.

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Dal museum theatre al digital storytelling: Nuove forme della comunicazione museale fra teatro, multimedialità e narrazione. Milano, Italy: FrancoAngeli, 2011.

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The dictionary of new media: The new digital world: video, audio, print : film, television, DVD, home theatre, satellite, digital photography, wireless, super CD, Internet. New York: Harbor Electronic Pub., 1999.

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The digital playing fields: New rulz for film, art and performance. Strawberry Hills, N.S.W: Currency House, 2010.

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Mapping intermediality in performance. Amsterdam: Amsterdam University Press, 2010.

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Heinrich, Falk. Computeren som dramatisk dobbeltgænger: Om den sceniske kunsts anvendelse af digital teknologi. Århus: Institut for Æstetiske Fag, Afdeling for Dramaturgi, 2003.

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Avant-garde performance: Live events and electronic technologies. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2005.

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Digital performance: A history of new media in theater, dance, performance art, and installation. Cambridge, Mass: MIT Press, 2007.

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Solum, Nils Henrik. Innføring av digitalkino i Norge: Evaluering av del 2 av de digitale forsøksprosjektene NDA og NORDIC : sluttrapport. Oslo: NIFU STEP, 2008.

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Book chapters on the topic "Digital theatre"

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Sood, Sara Owsley, and Athanasios V. Vasilakos. "Digital Theater: Dynamic Theatre Spaces." In Handbook of Multimedia for Digital Entertainment and Arts, 423–45. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-89024-1_19.

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Masura, Nadja. "Introduction." In Digital Theatre, 1–13. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_1.

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Masura, Nadja. "Theorizing Place/Community: Issues of Access and Performativity." In Digital Theatre, 233–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_10.

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Masura, Nadja. "Digital Theatre in Action: The Builder’s Association." In Digital Theatre, 255–76. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_11.

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Masura, Nadja. "Conclusion." In Digital Theatre, 277–87. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_12.

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Masura, Nadja. "Scenography." In Digital Theatre, 17–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_2.

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Masura, Nadja. "The Theater Building/Place." In Digital Theatre, 41–77. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_3.

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Masura, Nadja. "Costuming." In Digital Theatre, 79–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_4.

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Masura, Nadja. "The Actor (Agency)." In Digital Theatre, 99–120. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_5.

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Masura, Nadja. "The ‘Other’ Actor." In Digital Theatre, 121–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_6.

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Conference papers on the topic "Digital theatre"

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Greenberg, Jessica, and Brian Rague. "Digital Theatre Design - An Interdisciplinary Course Connecting Computing and Theatre Arts." In SIGCSE '21: The 52nd ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3408877.3439563.

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Simpson, James. "Live and Life in Virtual Theatre: Adapting traditional theatre processes to engage creatives in digital immersive technologies." In Proceedings of EVA London 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/eva2021.17.

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Venkatachalapathy, Rajesh, Martin Zwick, Adam Slowik, Kai Brooks, Mikhail Mayers, Roman Minko, Tyler Hull, Bliss Brass, and Marek Perkowski. "Universal Biological Motions for Educational Robot Theatre and Games." In 2021 International Conference on Information and Digital Technologies (IDT). IEEE, 2021. http://dx.doi.org/10.1109/idt52577.2021.9497592.

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Ribeiro, Pedro, Anna Michel, Ido Iurgel, Christian Ressel, Cristina Sylla, and Wolfgang Müller. "Empowering children to author digital media effects for reader's theatre." In IDC '18: Interaction Design and Children. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3202185.3210793.

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Hose, Jesse, Mark Winchell, Kent Walker, and John Ratzel. "Data Transport and Processing in a Digital Cinema Theatre System." In SMPTE Advanced Motion Imaging Conference. IEEE, 2002. http://dx.doi.org/10.5594/m00230.

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Bakk, ágnes Karolina. "Analogue and Digital Immersive Experiences: What should digital creators learn from live theatre makers?" In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.57.

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Sutton, Paul, and Max Allsup. "NETWORKED THEATRE: USING THE INTERNET AND DIGITAL TECHNOLOGY TO SHAPE GLOBAL ONLINE COLLABORATIVE LEARNING IN EDUCATIONAL DRAMA AND APPLIED THEATRE CONTEXTS." In International Conference on Education and New Learning Technologies. IATED, 2016. http://dx.doi.org/10.21125/edulearn.2016.0324.

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Simpson, James. "Physical to Digital to Physical: Capturing human performances for multidisciplinary theatre visualisation." In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.65.

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Bianchini, Carlo, and Giorgia Potesta. "The critical reconstruction of the Temple - Theatre complex in the Italic Sanctuary of Pietrabbondante." In 2018 3rd Digital Heritage International Congress (Digital Heritage) held jointly with 2018 24th International Conference on Virtual Systems & Multimedia (VSMM 2018). IEEE, 2018. http://dx.doi.org/10.1109/digitalheritage.2018.8810124.

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Höfer-Lück, Hanna. "THEATRE EDUCATION, DIGITAL MEDIA, AND INCLUSION: FOSTERING PROFESSIONAL IDENTITY AND SELF-AWARENESS IN TEACHER’S EDUCATION." In 11th annual International Conference of Education, Research and Innovation. IATED, 2018. http://dx.doi.org/10.21125/iceri.2018.2537.

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