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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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Masura, Nadja Linnine. "Digital Theatre a "live" and mediated art form expanding perceptions of body, place, and community /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7430.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Baker, Christopher J. "Video Games: Their Effect on Society and How We Must Modernize Our Pedagogy for Students of the Digital Age." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3627.
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This thesis aims to explore how video games have become an extremely beneficial tool in regards to education, art, medicine, psychology, economics, and beyond. Chapter 1 focuses on how ubiquitous video games have become in America, and what makes video games such a uniquely enjoyable experience to warrant such popularity. Chapter 2 explores how video games have become instrumental in various fields. Chapter 3 discusses the role that video games now play in the world of education; specifically how we, as educators, must adapt a modern pedagogy best suited to students who have grown up with video games, which have influenced how they learn. This is the thesis’ primary contention and purpose. Chapter 4 dissects the two most studied controversies which surround video games as a medium: video game violence and video game addiction.
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Yeadon, Michelle. "The Nether Worlds of Jennifer Haley — A Case Study of Virtuality Theatre." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23726.
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Studies exploring the first wave of digital performance foregrounded technology by cataloging experimentation and novel interactions between liveness, projections and code. As exercises in medium, these high tech spectacles demonstrate the aesthetic potential of digital media while introducing key media concepts. Jennifer Haley is a writer with one foot in theatre and one in code. She is uniquely positioned in two interdependent spheres, which makes her particularly suited to engineer a theatrical bridge into the virtual, because at the heart of the contemporary technological revolution is a new level of writing and media literacy. Theatre has been effectively accessing the virtual imagination for millennia, and new technologies create new intricacies for engaging the virtual within theatrical space. Each is a medium defined by action, which host other media, and provide in depth simulations. Haley’s plays push beyond the fascination and spectacle of technology to incorporate the mundane reality of the digital into the structure of her work. Haley writes plays specifically to resonate with the similarities she sees between theatre and virtual worlds. Utilizing techniques and tropes from other media and then framing the narrative from within a theatrical world Haley exploits the essence of an active, critical audience and opens a dialog between virtual worlds and the perceptions of the audience. She treats her media generated worlds as places. Other digital theatre plays may peer through a window into the virtual by dramatizing a conversation through media; Haley sends an expedition over the threshold into another world. A flesh version of an avatar breathing before the audience establishes a material existence unattainable in two dimensional screen media. Haley illuminates the constructed nature of mediatized communication, but she does it dramaturgically deemphasizing the technology and re-centering the human within the virtual drama. Her approach builds a metaphorical bridge between theatre and virtual digital realities. Through a close reading of Haley’s plays I will demonstrate how Haley takes the artistic next step for computer technology and theatre.
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Saranchuk, Charlene Nicole. "Manual or digital : a study comparing the process of three-dimensional scanning and printing theatre properties to the process of creating theatre properties by hand." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/57881.
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This paper documents the process undertaken in researching the viability of the creation of three-dimensional (3D) printed props in lieu of handmade props, more specifically a handmade Italian Commedia dell'Arte mask for the character of Scaramuccia (Scaramouche). With the guidance from resident prop master, Lynn Burton, I was able to create two handmade papier mâché masks through the process of casting a negative of a plasticine mask and then papier mâchéing both that negative cast and the plasticine mask. Through the use of a NextEngine 3D Laser Scanner, a plethora of online resources, and trial and error work with a number of 3D software editing products (NextEngine ScanStudio, MeshLab, Autodesk Meshmixer, netfabb Basic, Autodesk Memento, 3D Studio Max Design, and MakePrintable.com), I have been able to create a 3D model of this mask, which I then attempted to print using the FlashForge Creator Pro 3D printer.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Seward, P. "Toward a hybrid music theatre : exploring avant-garde compositional techniques within a commercial form." Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31993/.
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Toward A Hybrid Music Theatre explores the coming convergence between the English-language musical theatre and contemporary opera. The research focuses specifically on the implementation of avant-garde compositional techniques within a commercial music theatre form. Areas of application include practices in narrative structure, multiplicity of character portrayal, instrumental and vocal characterizations, vocal writing, and soundscape narrative. Works by Italian and American twentieth-century composers have been examined for the use of such techniques including Luigi Dallapiccola, Luigi Nono, Bruno Maderna, Luciano Berio, Leonard Bernstein, and Stephen Sondheim. Works such as Berio’s "Outis" and Sondheim’s "Merrily We Roll Along" have influenced the thinking on narrative structure, while Dallapiccola’s "Volo di notte," Maderna’s "Don Perlimplin," and Sondheim’s "Into The Woods" have contributed to the discussion of instrumental and vocal characterizations. Choral techniques such as those found in the works of György Kurtág and Krzysztof Penderecki influenced the quasi-soundscape effects. Three full works accompany the portfolio, "The Proposal," "The Passion of John" and "The Rose Prologues." The work embodied in these projects represent a significant development to the journey moving toward hybridity. The narrative structure of "The Proposal" addresses two sides of a musical story told simultaneously. The two primary characters are portrayed by seven singers and various instruments. "The Passion of John" explores timbre, time and space as a means of musical storytelling while "The Rose Prologues" explores a single image from multiple perspectives in short-form opera. The direction taken with these works lays out a path for future composers to explore.
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Brown, Luke. "Queer(y)ing Quaintness: Destabilizing Atlantic Canadian Identity Through its Theatre." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39004.
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The Atlantic Canadian provinces (Newfoundland, New Brunswick, Prince Edward Island, and Nova Scotia) have long been associated with agricultural romanticism. Economically and culturally entrenched in a stereotype of quaintness (Anne of Green Gables is just one of many examples), the region continuously falls into a cycle of inferiority. In this thesis, I argue that queer theory can be infused into performance analysis to better situate local theatre practice as a site of mobilization. Using terms and concepts from queer geographers and other scholars, particularly those who address capitalism (Gibson-Graham, Massey), this research outlines a methodology of performance analysis that looks through a queer lens in order to destabilize normative assumptions about Atlantic Canada.
Three contemporary performances are studied in detail: Christian Barry, Ben Caplan, and Hannah Moscovitch's Old Stock: A Refugee Love Story, Ryan Griffith's The Boat, and Xavier Gould’s digital personality “Jass-Sainte Bourque”. Combining Ric Knowles' "dramaturgy of the perverse" (The Theatre of Form 1999) with Sara Ahmed's "queer phenomenology" (Queer Phenomenology 2006) allows for a thorough queer analysis of these three performances. I argue that such an approach positions new Atlantic Canadian performances and dramaturgies as sites of aesthetic and semantic disorientation. Building on Jill Dolan's "utopian performatives" (Utopia in Performance 2005), wherein the audiences experience a collective "lifting above" of normative dramaturgical structures, my use of "queer phenomenology" fosters a plurality of unique perspectives. The process of complicating normalizing tendencies helps dismantle generalizing cultural stereotypes.
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Breedlove, Allegra B. "The Digital Soliloquies of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/618.
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Anderson, Michael-John Peter. "The amalgamation of acoustic and digital audio techniques for the creation of adaptable sound output for musical theatre." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/76720.
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There are many facets that influence the quality of a musical theatre production. The visual
appeal is created from the décor, costumes and lighting, whereas the plot, pace, and
relationship a listener develops with the characters are fundamental to the performance
quality. However, one often overlooked factor is the impact of sound quality. The perception
of sound quality is subjective but is greatly impacted by the environment in which the listener
finds themselves. If the projection of the music is underwhelming in depth and expression, or
the balance of the dynamics and timbre are badly mixed, this can jeopardise the production’s
success, regardless of the quality of the composition or the visual aspects.
The production budget for a musical performance can be prohibitive. As a result, prerecorded
music is often used as an alternative substitute to live musicians. However, the
subjective authenticity of a musical may be jeopardized by the exclusion of live musicians
and create additional challenges and performance limitations. One such challenge is the
environment in which music will be played. Recorded music is usually created in a single
format such as compact disc or for broadcasting, and the cost of recording be can just as
expensive as a live performance, especially on large scale works. Time and budget
constraints may impact the sound quality. In addition to this, the varying acoustic properties
of potential venues may emphasise sonic gaps and flaws contributing to a listener’s negative
perception of the sound quality, resulting in a compromised experience of the performance as
a whole.
This mixed method dissertation offers a systematic explanation to potentially resolve these
challenges and limitations by conceptualising established knowledge of sound, audio and
acoustics to formulate a framework for adaptive sound. These concepts are put into practice
by creating a specifically designed audio recording that is experimented with in multiple
theatre scenarios to successfully achieve optimal adaptation of the sound for the theatre
environment.Dissertation (MMus)--University of Pretoria, 2019.
Music
MMus
Unrestricted
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Souza, Rafael de Oliveira. "O impacto político das redes digitais nas novas teatralidades." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4741.
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Rafael de Oliveira Souza.pdf: 656557 bytes, checksum: 6aaa7b2fb44131161d5b865c6a23b14a (MD5)
Previous issue date: 2015-12-04This dissertation analyzes some manifestations of theatrical language that arises in the confluence between the theater and the latest communication technologies. As a theoretical framework, the research presents debates proposed by Eugene Thacker about digital networks; reflections around the concept of multitude discussed by Antonio Negri and Michael Hardt related to the Pascal Gielen discussions about the artistic productions in neoliberalism times. The corpus of the dissertation consists of experiences about the Rede Teatro d@ Floresta, the theater group Belarus Free Theatre and the artist Amanda Palmer. The expected result is a reflection on the epistemological procedures between theatrical language and the new communication technologies, on the political impact of the new collectives activated by digital networks; and a possible reading of some digital theater experiences as biopolitics resistance networks
Esta dissertação de Mestrado analisa o chamado teatro digital. Trata-se de uma rede de experiências que emerge em diferentes contextos, acionando a confluência entre novas teatralidades e tecnologias da comunicação. Como fundamentação teórica, a pesquisa apresenta debates propostos por Eugene Thacker acerca de redes digitais; reflexões em torno do conceito de multidão discutido por Antonio Negri e Michael Hardt e provocações propostas por Pascal Gielen acerca de produções culturais e comunidades que convivem com os dispositivos de poder do capitalismo tardio. Além das discussões teóricas, o corpus da dissertação é composto por três estudos de caso: a Rede Teatro d@ Floresta, o grupo teatral Belarus Free Theatre e intervenções da artista Amanda Palmer. O resultado esperado é a construção de uma reflexão preliminar para explicitar o impacto político dos novos coletivos ativados pelas redes digitais, assim como a apresentação de experiências que esta pesquisa reconhece como redes de resistência biopolítica
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Swift, Elizabeth. "The hypertextual experience : digital narratives, spectator, performance." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16025.
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This thesis demonstrates how the dynamics of hypertext fiction can inform an understanding of spectatorial practices provoked by contemporary performance and installation work. It develops the notion of the ‘hypertextual experience’ to encapsulate the particular qualities of active user engagement instigated by the unstable aesthetic environments common to digital and non-digital artworks. The significance and application of this term will be refined through an examination of different works in each of the study’s six chapters. Those discussed are as follows: Performances: Susurrus, by David Leddy; Love Letters Straight from the Heart and Make Better Please, by Uninvited Guests; The Waves, by Katie Mitchell; House/ Lights and Route 1 & 9, by the Wooster Group; Two Undiscovered Amerindians Discover the West, by Coco Fusco and Guillermo Gómez-Peña. Digital works: Afternoon (1987) by Michael Joyce; Victory Garden (1992) by Stuart Moulthrop; TOC by Steve Tomasula; The Princess Murderer by Deena Larsen. Installations: H.G. and Mozart’s House, by Robert Wilson; Listening Post, by Mark Hanson and Ben Rubin. In developing and discussing the hypertextual experience the thesis uses a number of conceptual frameworks and draws on philosophical perspectives and digital theory. A central part of the study employs an adaptation of possible worlds theory that has been recently developed by digital theorists for examining hypertext fiction. I extend this application to installation and performance and explore the implications of framing a spectator’s experience in terms of a hypertextual structure which foregrounds its performative operations and its engagement with machinic processes.
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Nicklin, Hannah. "First person theatre : how performative tactics and frameworks (re)emerging in the digital age are forming a new personal-as-political." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/14579.
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This study sets out to explore first person theatre as a means of opening the individual to the problems of contemporary capitalism and its increasing pervasion of the personal in an era of embeddedness enabled by networked pervasive technology. Firstly setting out key definitions and a theoretical analysis of the problems of being in the digital age in chapter 1, and then setting this against the history of interaction in performance in chapter 2. The study then goes on (in chapters 3-5) to investigate three key aspects of first person performance as personal-as-political; sound and the city, play and games, and interactive theatre. In the final chapter, The Umbrella Project develops a piece of first person theatre as practice, a method of investigation that is vital to a thesis that discusses politics, late capitalism, and the means to resist the message-sending of private interests as fundamentally only to be understood in practice. For this reason, too, chapters 3, 4 and 5 are supported by key case studies discussing other first person theatre practice. By placing the participant at the centre of the world-constituting process of theatre in the hot space between what is and what if this study suggests that first person theatre is able to open the contemporary individual to an inbetween where they might re-see, reflect and react to what is. To imagine and, if wished, act upon a what if. In an age of the disrupted near and far, the vanishing of the interface, of the false rhetoric of choice of personalisation , and the often false rhetoric of agency at the end of the era of broadcast, first person theatre offers the subject a route to individual agency, an understanding of the urban environment as construct, and to their relationship with the subjective other something which this thesis suggests is a personal-as-political practice to rival the Spectacle of late capitalism.
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Waxstein, Christine Michele. "Digital Illustration: The Costume Designer’s Process For East Tennessee State University’s Spring Dance Concert 2012." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1504.
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This paper's objective is to document the research and developmental processes of creating East Tennessee State University's Spring Dance Concert 2012 costume designs and renderings. This thesis describes design creation from research stage to idea formulation to the conception of costumes using inspirational images, illustrations, and performance photos and videos. The show was a challenging undertaking because it involved the collaboration of many in a compressed timeframe: 1 artistic director, 9 choreographers, 20 dances, 46 performers, 10 lighting designers, 1 costume designer, and 3 weeks to put it all together. Incorporating digital technology into the rendering process saved time, expenses, and helped clarify the designer's choices. This paper reflects the 2-year study of incorporating digital technology into the rendering process, culminating in the costume design for the Spring Dance Concert 2012.
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Dixon, Tennessee. "PROJECTION DESIGN FOR A CONTEMPORARY DANCE WORK BY IVÁN ANGELUS IN HUNGARY." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2536.
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The purpose of this thesis is to document and analyze my projection design for a new dance piece, "VŰ", directed by Angelus Iván and staged at Trafó in Budapest, Hungary. Included is an account of the design process, the concept and projection development described scene by scene, execution, performance and evaluation. The paper ends with reflections on the relatively new field of image projections, and my professional goals in scenic design.
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Fenton, David Raymond. "Unstable acts : a practitioner's case study of the poetics of postdramatic theatre and intermediality." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16527/.
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This practice-led research enquiry examines the form and experience of postdramatic theatre and intermediality. Through three practice-led enquiry cycles, the performance, Unstable Acts, was created. The study was designed to introduce the practitioner to a new process of practice within a postmodern aesthetic and to investigate the theory and practice of intermedial performance. Accordingly, Unstable Acts generated moments of praxis concerning postdramatic theatre and intermediality. By analysing this praxis an increasingly complex understanding of de-representational performance, the liminal experience, percipience, reflection and intermediality in postdramatic theatre was developed. In responding to Unstable Acts, the study proposes a working model for the poetics of postdramatic theatre which places intermediality as a formal recurrence of the postdramatic form. The model also proposes that the postdramaturgical strategy of de-representational performance is a central stylistic quality of postdramatic form, and that the liminal experience is central to the postdramatic theatre experience. Connecting de-representation and liminality through queer theory, the model contends that reflection is an important aspect of both the form and experience of postdramatic theatre. In so doing, the study provides a clearer understanding for theorists and practitioners of the poetics of postdramatic theatre and the position of intermediality in postdramatic practice.
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Babaee, Tamirdash Mohamadreza. "Staging Belonging: Performance, Migration, and the Middle Eastern Diaspora in the United States." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1593024898855739.
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Lind, Charlotta, and Sebastian Lindfors. "Digitala Ridåer : Upplevelser: ett möte mellan teater och digitala spel." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19881.
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I detta kandidatarbete har vi utforskat huruvida teater som ett medium för upplevelser skulle kunna översättas till ett digitalt spelmedium. Då ‘upplevelse’ som begrepp är mycket stort har vi valt att fokusera främst på känslan av exklusivitet vid liveföreställningar, och använt ett flertal metoder för att utforska detta, bland annat designperspektivet ‘simulering’ med vilket vi ämnat att simulera den agens en skådespelare har vid varje föreställning. Vi har dokumenterat designprocessen, från idégenerering och konceptplanering till vår arbetsprocess, samt gestaltningen av vår undersökning. Slutligen har vi kritiskt granskat resultatet av detta, och har därför kunnat fastställa att vår frågeställning inte har ett konkret svar utan snarare är en pågående process, i vilken fler nyanser av ‘upplevelse’ skulle behöva utforskas för att skapa en tydligare bild av vad en upplevelse faktiskt är.In this Bachelor Thesis, we have explored whether theater as a medium for experiences could be translated into a digital game medium. Since 'experience' as a concept is very large, we have chosen to focus mainly on the feeling of exclusivity in live performances, and used a number of methods to explore this, including the design perspective ‘simulation’ with which we intended to simulate the agency the actor has in every performance. We have documented the design process, from idea generation and concept planning to our work process, as well as the product of our research. Finally, we have critically examined the result of this, and have therefore been able to determine that our question does not have a concrete answer but rather is an ongoing process in which more nuances of 'experience' would need to be explored to create a clearer picture of what an experience actually is.
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Jamieson, Helen Varley. "Adventures in cyberformance." Queensland University of Technology, 2008. http://eprints.qut.edu.au/28544/.
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This thesis examines the new theatrical form of cyberformance (live performance by remote players using internet technologies) and contextualises it within the broader fields of networked performance, digital performance and theatre. Poststructuralist theories that contest the binary distinction between reality and representation provide the analytical foundation for the thesis. A critical reflexive methodological approach is undertaken in order to highlight three themes. First, the essential qualities and criteria of cyberformance are identified, and illustrated with examples from the early 1990s to the present day. Second, two cyberformance groups – the Plaintext Players and Avatar Body Collision – and UpStage, a purpose-built application for cyberformance, are examined in more detailed case studies. Third, the specifics of the cyberformance audience are explored and commonalities are identified between theatre and online culture. In conclusion, this thesis suggests that theatre and the internet have much to offer each other in this current global state of transition, and that cyberformance offers one means by which to facilitate the incorporation of new technologies into our lives.
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Montague, Gregory. "COMPUTER TECHNOLOGYIN THE DESIGN PROCESS." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2738.
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This is a study of computer technology s impact on the theatrical design process. The tools of communication provided by technology were studied, and an analysis was conducted in the classroom of Digital Rendering, Digital Rendering Videos, and 3d CADD. After-wards, these tools were applied to an actual production of West Side Story where, with the addition of 3d light simulation software, the tools were used to communicate the design ideas from the lighting designer to the director. The goal of this process was to provide a  real to life virtual representation of the show to the director with the least amount of confusion. An additional goal was to test the limits and functions of the software; trying to learn all the benefits that could be provided to the process of mounting a theatrical production.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Wilkins, Caroline. "The instrument in space : the embodiment of music in the machine age." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6438.
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The body exists in space and time. It moves through cultural spaces and temporal rhythms. In the combination of instantiated actions and environmental conditions a context is created, this through embodiment. In this thesis I will attempt to link definitions of embodiment with the process of creating and performing new sound theatre works that involve live interaction with media technology. I will also examine terms such as inscription or incorporation and their application to processes of learning and memory within a particular context of inter-disciplinary skills. Finally, in the light of this genre, I will approach the problematic of analytical procedures that change the very parameters of embodied knowledge. The term sound theatre could be defined as a shift of play between music, image and text, incorporating elements such as gesture, choreography, audio and visual technology into a compositional dialogue. However this approach demands a re-examination of the spatial and temporal aspects involved in such inter-activity and their consequent relation to the performer. Taking the starting-point of sound and movement within the body of the performer, my research involves investigations into medial extensions of embodiment that have developed through a discourse with machines. This project takes an essentially practical basis for its research in the form of collaborations with musicians and practitioners of media technology towards a creative product. The result is a series of written compositions, each of which examines a different aspect of sound theatre. The valuable exchange that takes place during such a situation of experimentation becomes equally as important as the final product, providing much of the material framework for issues such as terminology and analytical procedures that concern my investigation.
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Gutiérrez, Coto Amauri Francisco. "Homoafectividad y Nueva Izquierda en América Latina: Adaptaciones de la Obra de Senel Paz." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594377.
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Social Science scholars study how the New Left - the wave of leftist governments in Latin America since 1999 - redefines leftism in the Post-Cold War. Part of this redefinition is a new social pact between the Queer community and those Latin American governments. Chapter 1 traces the ideological itinerary of this new social agreement and establishes the methodology of the study. El lobo, el bosque y el hombre nuevo (The Wolf, the Forest and the New Man) by Senel Paz reformulated the relationship between the dissident subjects of the patriarchy and the leftist state in Cuban society of the 1990s. Chapter 2 highlights Paz's text for its separation from the Cold War narratives centered on the leftist armed insurgent movements. Chapter 3 studies how the film adaptation of Paz's work globalized the argument and structured it within the Post-Cold War. Chapter 4 analyzes the theatrical adaptations of Paz's work made in Latin American countries after 1999. Two are compared from countries with New Latin American Leftist governments, Venezuela and Argentina, with others made in non-Latin American countries, the United States and Spain. The critical reception of the two theatrical adaptations done in Latin America showed the argument as part of their reality, in contrast to the representations made in the United States and Spain. Chapter 5 analyzes the repercussions of Paz's text in popular culture through the reggaeton "Fresa y chocolate."
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Foster, G. H. "Towards a Theatre for Gamers : a new paradigm of practice in contemporary live performance as a response to games and interactivity in digital media and performance culture." Thesis, University of Salford, 2017. http://usir.salford.ac.uk/43563/.
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How can game design, in terms of its concepts, theories, technologies and notions of play, be applied to the design of live performance and engage the new game playing audience within contemporary society? To investigate this I have carried out a practice-as-research project within an ethnographic framework and informed by action research methodologies. This study has created a practical and theoretical framework (expressed as approaches) for the application of gaming methodologies for use in the devising of contemporary performance. A Theatre for Gamers has been developed upon three pillars, which are inspired from gaming culture and practice: Agency, Interactivity and Play. Jacques Rancière (2007) has suggested the concept of emancipating the spectator and my research links this argument to concepts of agency and argues that games have the potential to address part of this concern. My research develops understandings of interactivity in performance by applying game-based notions of ergodic and cyber text (Espen Aarseth, 1997) to the field of live performance. It also draws upon fundamental game design principles, such as interactive feedback loops and story-worlds, as presented by Eric Zimmerman (2003) and Chris Crawford (2012), amongst other game theorists/designers. A Theatre for Gamers acknowledges play as a cultural form (Huizinga, 1938) and introduces understandings of contemporary gaming culture, such as McGonigal’s four gamer qualities (2011), into live performance. Several shifts in the approach to live performance for gamers emerge through this research. The focus of activity now centres on the audience and offers them deep interactivity by repositioning them into the roles of players. Performance practitioners become facilitators for live experiences and no longer assume authority over linear, direct storytelling or traditional performance. The process of storytelling focuses more on creating story-worlds, as opposed to story lines (Crawford, 2012), which encourage a more systemic approach to the development of performance and aims to encourage emergent behaviours and narrative.
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Hagemann, Simon. "La pensée des medias dans le theatre, des avant-gardes historiques au théâtre contemporain." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030096.
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Cette thèse étudie la place et l’utilisation des médias de masse sur les scènes théâtrales des XXe et XXIe siècles et vise à déterminer l’importance de la pensée des médias par les artistes pour la compréhension des grandes mutations théâtrales de cette période. L’étude, réalisée dans une perspective historique, est organisée en trois parties, selon les médias identifiés comme culturellement dominants : cinéma ; télévision et vidéo ; Internet et autres médias numériques. L’analyse des réflexions des artistes de théâtre face à l’évolution médiatique, qui provoquent l’apparition de nouvelles formes théâtrales – avec ou sans utilisation d’innovations technologiques -, offre de nouveaux regards sur le théâtre, et plus généralement, les arts du spectacle, sur les médias, ainsi que sur leurs relations. Cette thèse s’interroge sur les fonctions du théâtre dans un paysage où les arts et les médias sont en situation de concurrence, mais aussi d’inspiration réciproque, et réfléchit, au final, aux possibles conséquences de cette situation sur les études théâtrales à l’ère des médias numériquesThis thesis studies the place and utilisation of mass media on theatre stages during the 20th and 21st centuries. It aims to determine the importance of the thinking about the media in theatre during the great theatrical changes of the period. The research study, presented from a historical perspective, is organised into three parts: cinema, television, and the Internet and other digital media - the identified dominant media. Changes in media culture and certain artistic reflexions provoked the appearance of new theatrical forms, both with and without the utilisation of new technological innovations. An analysis of the thinking of theatre artists facing media developments allows new insight into theatre, the media and their relationship. This thesis aims to question the functions of theatre in the developing art and media landscape, and reflects on possible consequences for theatre studies in the age of digital media
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Hluch, Alexander. "Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5946.
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Comedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic structure that drama so thoroughly encapsulates. Being forced into a form that exemplifies complex, climactic structure and explicit character development, comedy in its purest form has suffered through the ages.
Gertrude Stein's theory of Landscape Drama, and, more specifically, immediacy, is best attuned to comedy in its truest form. Comedy does not require sweeping character development, obtuse narrative design, or fantastic spectacle to produce superior works of art. Comedy, when compared to drama, exists best in a much more punctuated format. Stein's theories, while never intended for comedy, align absolutely perfectly with the comedic genre's design. And epitomized through long form improv on the stage, and the newly-fashioned digital short made profitable by the proliferation of the internet and digital culture, comedy's purest form has become more readily available as narrative has progressed throughout history.
With this thesis, I intend to display the disparity between comedy and drama due to comedy's misallotment into a format that does not properly encapsulate it to its most fulfilling embodiment. Through this display, I seek to uncover the debt done to the comedic form from centuries of neglect in academic query and merit in order to best prove comedy's need for critical scrutiny. Further, in doing so I hope to better construe a community of comedic research and criticism in order to create better art and more diverse comedic offerings.M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Acting
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Coelho, Maíra Castilhos [UNESP]. "As múltiplas presenças do ator: novas relações e inovações em territórios cênicos." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151654.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
A pesquisa aqui proposta pretende refletir sobre as formas de presença do ator existentes no teatro a partir da fusão com a linguagem cinematográfica. Sob o ponto de vista do ator, foi pesquisada a nova dimensão da sua presença no palco, caracterizada pela utilização da câmara e do microfone. Para tanto, introduzimos uma breve história do teatro durante o surgimento do cinema visando contextualizar os estudos e reflexões contidos nos capítulos seguintes, nos quais serão aprofundados os avanços tecnológicos que culminaram no momento presente. Ao estudar as possibilidades do uso de recursos digitais no teatro, o foco é direcionado para as relações entre ator, câmera e projeção, visando investigar as possíveis formas de presença que vem sendo exploradas no teatro. Assim, o estudo é desenvolvido a partir das encenações: "E se elas fossem para Moscou?", de Christiane Jatahy; "King of War", de Ivo Van Hove; " Le Projet Andersen", de Robert Lepage; "The Tempest", de 4DArt; "Eraritjaritjaka", de Heiner Goebbels. A escolha dos espetáculos se deu devido a diferentes formas de captação e projeção das imagens em vídeo, que possibilitam, formas distintas de presença e de convívio entre ator-câmera-espectador. Por fim, é esperado, também, que o estudo propicie subsídios analíticos para a investigação das novas possibilidades deste “teatrodigital” e das tendências que se desanuviam em um futuro próximo de evolução tecnológica e diversificação técnica.
The present research intends to reflect on actor’s types of presence in theatre from the fusion with the cinematographic language. Under the actor’s point of view, it was researched a new dimension of his presence on stage, characterized by the use of camera and microphone. To this end, the study begins with a short history of theatre during the rise of cinema so as to contextualize the studies and reflections contained in future chapters, which present technological advances culminating in the present day. In studying the possibilities of this “theatre-cinema”, the research focuses on relationships between actors, cameras, and projections, as well as investigating possible forms of presence that both cinema and theatre explore, and that enable new relations between actors and spectators to be formed. The study examines the following scenic productions: "E se elas fossem para Moscou?" by Christiane Jatahy; "King of War", by Ivo Van Hove; "Le Projet Andersen", by Robert Lepage; "The Tempest", by 4DArt; and "Eraritjaritjaka", by Heiner Goebbels. The choice of productions is based on different forms of capturing and projecting video images, which allow for distinct modes of presence and of interaction between actors, cameras, and spectators. Finally, the research also aims to supply analytic tools toward the investigation of new possibilities of this “theatre-cinema” and of tendencies that will arise in the near future, based on technological evolution and technical diversification.
FAPESP: 2013/06541-3
FAPESP: 2015/06139-6
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Hyde, Sophie-Louise. "'We should be united' : deploying verbatim methods in poetry to (re)present expressions of identity and ideas of imagined community in the 2011 Birmingham riots." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25516.
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Despite the upsurge in fact-based and verbatim theatre in recent years (Fogarth and Megson 2009: 1), engagement with the form as a technique equally suitable for poetry has been especially limited. This thesis examines the deployment of verbatim methods in a series of poems which constitute the creative element, written in order to (re)present expressions of identity and ideas of imagined community during the 2011 riots in Birmingham. Located in the context of this particular disorder, United We Stand explores both individual and group experiences of the events that took place in Birmingham. The series of verbatim poems draws on data extracted from 25 semi-structured, life-story interviews with participants who lived or worked in the city during these incidents. In doing so, both the thesis and the creative practice that informs it critique Benedict Anderson s earlier model of the nation as an imagined community (1983; 1991; 2006). While quantitative network analysis is deployed to establish the ties between media channels and ordinary citizens that were maintained online through social networking, creative and reported responses published by these same media sources are analysed in relation to national narrative conventions (Billig 2001; Mihelj 2011). This demonstrates that new and popular media played a significant role in (re)presenting imagined communities in this setting. By providing evidence for the existence of these shifting imagined communities across various geographical, social and cultural scales, the thesis suggests that Anderson s decision to focus on the nation is problematic. It argues that his framework is partial and that a new definition of imagined community as both fluid and emergent is necessary. Literary context for the thesis is found in the origins and developments of verbatim; exploring early documentary theatre practice and contemporary verbatim productions by Richard Norton-Taylor, Alecky Blythe, and Gillian Slovo. Through an analysis of Bhanu Kapil Rider s The Vertical Interrogation of Strangers (2001), the thesis illustrates how existing poets have organised comparable methods in their own work. This culminates in a demonstration of practice as research by producing a ground-breaking body of work: United We Stand is a series of poems crafted through the deployment of verbatim methods. The thesis demonstrates that deploying verbatim methods in poetry is suitable for (re)presenting expressions of identity and ideas of imagined community in this context. By transforming the voices of ordinary people of Birmingham, United We Stand reflects the media narratives that precede it: the poems are a direct engagement with the same fluid and emergent imagined communities that they argue existed. More importantly, though, this thesis goes beyond contemporary techniques of verbatim and establishes the evolutionary nature of it as a poetic practice. The combination of verbatim methods and visual-digital tools that I deploy throughout United We Stand results in a new creative process which I have termed Digital Poetic Mimesis.
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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.
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Borglund, Dawn. "EVELYN OFFSCREEN: AN APPLICATION OF INTERACTIVE PERFORMANCE METHODSIN ALTERNATE REALITY GAMING." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3066.
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For my thesis project for the Masters of Fine Art in Film and Digital Media, I designed and produced Evelyn Offscreen, an alternate reality game (ARG) that was facilitated by interactive performance. The goal was to create an interactive experience that allowed several players to collaboratively create story across numerous media within the field of alternate reality gaming. The approach used in Evelyn Offscreen was intended to provide a degree of creative freedom to the players that has not been demonstrated in other ARG experiences and to use digital media to capture information about the relative effectiveness of the different techniques that were employed. During the month of October 2009, Evelyn Offscreen invited players to participate in an overarching story as characters. The game existed simultaneously through several media platforms such as Ning, twitter, and blogger as well as scenes located in Central Florida where players could embody their character in a real world setting. The results revealed insights into techniques for massive collaboration of story and player reactions to this hybrid form of alternate reality gaming and interactive performance.M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
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Goldberg, James Arthur. "Drink Me, or: How I Learned to Stop Worrying and Love the Blog." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2161.
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Language itself is a technology, and the advent of each major technology of language transmission (from the alphabet to the printing press to the Internet) has changed the range of speaker-audience dynamics which are the starting point for all creative writing. In this thesis, a writer, armed only with his blog archives and a smattering of John Tenniel illustrations, guides the curious reader through various issues raised by creative writing in the blog form. Topics discussed include self-presentation, the juxtaposed brevity and expansiveness of online texts, nonlinear reading, alternative models for revision, the literary possibilities of the hyperlink, speaker-audience-time relationships in online settings, the future of ephemerality, the possibility of digital street theatre, and croquet with live balls and sticks. Also discussed are: the end of the world, the Partition of India, the political ramifications of labels replacing folders, my great-aunt's death, Wynton Marsalis, Jewish Vikings, democracy in Kahanistan, Saparmurat Niyazov, Elvis Costello, Sheikh Hasina, and the virtues of walking to church. This thesis also contains several introductions, an acknowledgements page, and more chapters than I care to count. A five-dollar bill may or may not be hidden between the digital pages of this thesis.
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Westling, Carina E. I. "The making of postdigital experiential space : Punchdrunk Company, 2011-2014." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68360/.
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This thesis presents my original contribution to knowledge, a combination of critical media and performance theories to analyse the production and augmentation of postdigital experiential spaces in Punchdrunk Theatre Company. Distributed agency is key to Punchdrunk's work, with makers within the company and audiences both being active participants in meaning-making, across complex and detailed interfaces. In order to investigate the making cultures on ‘both sides' of the interface, I undertook a two-year participant study as a researching designer within the company during the build of the productions The House Where Winter Lives and The Drowned Man in 2011-2014, gathering field data in the form of extensive interviews with members of the company and audience participants, supported by diary notations and photographs. I studied the processes and methods that extend, distribute and regulate agency to both audiences and makers within the company, and identified devices and features of the interaction design of the company that produce the immanent subject-event relationships that support immersion in their work. A core aspect of this research concerns the relationship between immersion and the sublime, and how subject-event relationships (immanent vs. transcendent) contribute to engendering sublime interactive experiences. I have analysed the consequences of this for the modelling of participation in interaction design, and how it influences conditions of possibility within interactive systems across physical, digital and blended media. The conclusion of this research includes the definition of a postdigital sublime, and proposes a delinquent system aesthetic that integrates proxies for gravity through articulation of the ‘shadow side' of interaction design.
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Perriam, Jessamy. "Theatres of failure : digital demonstrations of disruption in everyday life." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23312/.
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Disruption regularly occurs in everyday life: public transport runs late, online accounts get hacked or faddish technology interrupts our experience of public spaces. These disruptions are sometimes called 'speed bumps' in our daily experience, giving insight into our expectations of a normal working order of everyday life. But mundane disruptions are not only events that occur and are then forgotten about. As I discuss in this thesis, we also demonstrate our disruption to those responsible as a form of problematisation (Callon 1986a), enrolling others into the disruption. As far as direct communication is concerned, these disruptions were once demonstrated between the disrupted party and the responsible entity via personal media such as letters, telephone conversations or emails. However, the uptake of social and digital media devices in recent years has meant demonstrations of mundane disruption have become networked, enlisting participation from broader audiences beyond those directly responsible. This leaves us with questions about the ontology and agency of the digital: is the digital a setting, an actor or an assemblage in the demonstration of disruption, or many other entities in addition? This thesis investigates how demonstrations of disruption are being reconfigured in light of the digital. I examine this phenomenon through theoretical standpoints in Science and Technology Studies, the emerging field of digital sociology and, ethnomethodology, which I bring to bear on demonstrations performed in three different field sites. The first is an ethnographic study of the situated practices of Transport for London’s social media customer service team. The second analyses blogs and YouTube videos that attempt to enrol publics in issues of cyber security. The last empirical chapter combines digital ethnography with an in situ breaching experiment to describe and analyse how people use social media to demonstrate a particular disruptive digital object, the selfie stick, in public places.
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Fernandez, Vara Clara. "The tribulations of adventure games integrating story into simulation through performance/." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/31756.
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Thesis (Ph.D)--Literature, Communication, and Culture, Georgia Institute of Technology, 2010.Committee Chair: Murray, Janet H.; Committee Member: Bolter, Jay; Committee Member: Montfort, Nick; Committee Member: Nitsche, Michael; Committee Member: Pearce, Celia. Part of the SMARTech Electronic Thesis and Dissertation Collection.
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Pinzon, Jacqueline. "Montagem revelada : As Poéticas de Isadora. Orb - A metáfora final, de Ricky Seabra e a Un certo punto della vita dovresti impegnarti seriamente e Smettere di fare il ridicolo, de Rodrigo García." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/35395.
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O objetivo desta dissertação é examinar as articulações entre o teatro e as mídias digitais no âmbito dos espetáculos Isadora.Orb- A Metáfora Final (2005), do brasileiro nascido nos Estados Unidos Ricky Seabra, e A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente I Smetteredi Fare Il Ridicolo (2007), do argentino radicado na Espanha Rodrigo García. Considerando o espetáculo teatral como um espaço intermedial por excelência, a análise das obras permitiu a identificação dos procedimentos de composição da cena onde se destacam os princípios operatórios aqui denominados como montagem revelada e acontecimento teatral como experimento.This thesis aims at examining the manner in which the theatre articulates with the digital media in two plays, Isadora.Orb - A Metáfora Final (2005) - by the Brazilian director Ricky Seabra, born in the United States - and A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente e Smettere di Fare Il Ridicolo (2007) - by the Argentinian director Rodrigo García, who has established himself in Spain. By considering that the theatrical spectacle is the intermedial space par excellence, the analysis of these works allows the identification of the procedures employed for the composition of the scene. Among the most important of these, two procedural principles stand out, which are designated here as the revealed montage and the theatre event as an experiment.
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Seyferth, Staci Lynne. "Digital playhouse." This title; PDF viewer required. Home page for entire collection, 2004. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
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Jones, Matthew Nathan. "Theatr y Cymry ifanc ar drothwy oes y diwylliant digidol." Thesis, Aberystwyth University, 2014. http://hdl.handle.net/2160/1bd85093-fb9a-4493-ad7a-ae3eec876484.
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Mae'r thesis hwn yn dogfennu hanes un o'r cwmnïau theatr fwyaf adnabyddus ar gyfer plant a phobl ifanc yng Nghymru, sef Cwmni Theatr Arad Goch, a hynny ar adeg newidiol yn ei gynulleidfa, sydd yn troi at dechnoleg ddigidol fel y cyfrwng trechol ar gyfer cyfathrebu ar nifer o agweddau. Mae'r thesis yn trafod ymateb y diwylliant ifanc yng Nghymru a diwylliant y theatr i'r digidol yn yr oes sydd ohoni, a hynny wrth grynhoi cenhadaeth barhaol Arad Goch sef i ddatgelu drych brofiad ac agor drws y dychymyg ar gyfer ei gynulleidfa. Y prif gwestiwn sydd wrth wraidd y gwaith hwn yw sut y gellir gweithredu cenhadaeth Arad Goch mewn modd sy'n ymateb yn fentrus i'w gynulleidfa ddigidol, ddeallus, gyfoes. Ymchwilir i ddulliau o greu darn o theatr ar gyfer cynulleidfa benodol y cwmni, a hynny gan ystyried gweithgaredd diweddar y cwmni a diffiniadau o du fas i'r cwmni o gynyrchiadau theatr ddigidol, a hynny yng Nghymru a thu hwnt. Wrth ystyried arsylwadau'r ymchwiliad hwnnw, ac ymchwil mewn i hunaniaeth cynulleidfa Arad Goch, cyflwynir cynhyrchiad theatr newydd o'r enw Outsiders. Cyflwynir trafodaeth gan arwain at y cynhyrchiad hwn, a gan hynny cynnig fframwaith perfformiadol ar gyfer y cwmni, hynny yw, esiamplau o sut gellid llwyfannu cynhyrchiad theatr ddigidol o'r fath i gynulleidfa benodol y cwmni. Mae'r gwaith yn cynnig ystyriaeth o'r cymhlethdodau sydd wrth wraidd y broses o gyflwyno gwaith i gynulleidfa benodol y cwmni, ac i rai tebyg o ran diwylliant, iaith neu oedran y gynulleidfa.
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Boström, Andersson Jesper, and Jonas Nygren. "Security Theater i digitala applikationer : En illusion för att förstärka känslan av säkerhet." Thesis, Högskolan Kristianstad, Fakulteten för ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-18768.
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Datorkraft och hastighet har på senare år ökat exponentiellt, men våra förväntningar och mentala modeller om vad datorsystem är kapabla till har inte följt med. I fall där människor inte tror på att systemet kan utföra de uppgifter som begärs så snabbt som de gör kan artificiell väntan appliceras för att förväntningarna ska komma närmare verkligheten. Syftet med denna studie är att undersöka ifall security theater fungerar i kontexten av bankapplikationer och vad som händer med användarens förtroende ifall illusionen av säkerhet brister. Genom denna undersökning har vi fått fram att security theater är ett fenomen som fungerar och tillför ett värde för användaren. Dock ska kontexten ifråga utvärderas noggrant, då security theater i fel kontext kan ses som ett störande moment. Vi kom fram till att majoriteten av testpersoner inte påverkas negativt, och istället ser security theater som ett värde även efter illusionen genomskådats.Computer power and speed have increased exponentially in recent years, but our expectations and mental models of what computer systems are capable of have not kept up. In cases where people do not believe that the system can perform the requested task as quickly as they do, an artificial wait can be applied to closer match the reality. The purpose of this study is to investigate whether security theater works in the context of banking applications and what happens with the users trust if the illusion of security fails. Through this paper we have found that security theater is a phenomenon that works and adds value to the user. However, the context in question must be carefully evaluated, as security theater in the wrong context can be seen as a disturbing element. We came to the conclusion that the majority of our test subjects are not negatively affected, and instead sees the value in security theater even after the illusion have been revealed.
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Goodman, Michael. "Illustrating Shakespeare : practice, theory and the digital humanities." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/97016/.
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The Victorian era was the 'Golden Age' for Shakespeare illustration. Between 1939 and 1880 thousands of illustrations were produced within many different editions of Shakespeare's Complete Works. What is so fascinating about these illustrations is that they have, historically, been widely neglected by academic scholarship. These editions, which were hugely popular in the Victorian era, are a very important part of our cultural heritage and, indeed, our construction of Shakespeare's plays as we understand them today. The 'Victorian Illustrated Shakespeare Archive' is centered on the four major Victorian illustrated editions of Shakespeare's Complete Works and makes available online over 3000 of these illustrations in an open-access database. The archive is available online at 'ShakespeareIllustration.org' and will allow researchers and members of the public to explore a rich image archive and to ask new questions about this material: for example, 'how did the Victorians portray certain characters and plays pictorially and does this portrayal differ throughout the Victorian era?' Alongside such questions, the archive, more broadly, allows users to explore and interrogate the complex relationship that exists between the page and the stage, between word and image and between the past and the present. Underpinning the project is my strong belief that an online academic resource can be both scholarly rigorous and user-friendly. Further, the archive uses social networking to enable a community of users to discuss the images and to collaborate in exciting new and unforeseen ways. This thesis explores the implications around the creation of such work.
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Arana-Valera, Diego-Gustavo. ""Boletería, comunicación digital para las artes escénicas"." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4650.
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Con "Boletería", se desea que los jóvenes de 18 a 25 años que vivan en Lima se interesen por la oferta cultural mediante un producto audiovisual que los motive a asistir al teatro, y promueva en ellos el desarrollo de un hábito cultural que ayude a construir una industria teatral.Trabajo de suficiencia profesional
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Acworth, Elaine Elizabeth. "Dan Kelly danced into the shadows : large-scale personas in small-scale stories." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18342/.
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Using an analysis of the creation of the character Dan Kelly in my play, risk, I argue that fairytale characters work as more than personage representations. They function on a big canvas for the audience; they carry large chains of association. Given this, I then propose that the human response is to infer additional meaning, meaning beyond the scope of plot and immediate character interaction - the audience infers symbolic meaning, ‘amplifying’ what is there into more. They enter a ‘generative empty space’ within the play where they infer or ‘unfold’ more meaning. In creating this ‘greater tale’, they are engaged beyond their personal ‘horizon of understanding’, and so, ‘take in’ the work through a heightened perceptual acuity.
Therefore, I pursued the idea of making space for the operation of this process, of leveraging the creation of meaning around a character. My inquiry led me to believe that a powerful way to do this was through absence rather than presence and silence rather than sound; and this had a profound impact on my choice of form for Dan Kelly: he progressed, through a number of stages, from reportage to a digital representation.
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Victorin, Karin. "AI as Gatekeepers to the Job Market : A Critical Reading of; Performance, Bias, and Coded Gaze in Recruitment Chatbots." Thesis, Linköpings universitet, Tema Genus, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177257.
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The topic of this thesis is AI recruitment chatbots, digital discrimination, and data feminism (D´Ignazio and F.Klein 2020), where I aim to critically analyze issues of bias in these types of human-machine interaction technologies. Coming from a professional background of theatre, performance art, and drama, I am curious to analyze how using AI and social robots as hiring tools entails a new type of “stage” (actor’s space), with a special emphasis on social acting. Humans are now required to adjust their performance and facial expressions in the search for, and approval of, a new job. I will use my “theatrical glasses” with an intersectional lens, and through a methodology of cultural analysis, reflect on various examples of conversational AI used in recruitment processes. The silver bullet syndrome is a term that points to a tendency to believe in a miraculous new technological tool that will “magically” solve human-related problems in a company or an organization. The captivating marketing message of the Swedish recruitment conversational AI tool – Tengai Unbiased – is the promise of a scientifically proven objective hiring tool, to solve the diversity problem for company management. But is it really free from bias? According to Karen Barad, agency is not an attribute, but the ongoing reconfiguration of the world influenced by what she terms intra-actions, a mutual constitution of entanglement between human and non-human agencies (2003:818). However, tech developers often disregard their entanglement of human-to-machine interferences which unfortunately generates unconscious bias. The thesis raises ethical questions of how algorithmic measurement of social competence risks holding unconscious biases, benefiting those already privileged or those acting within a normative spectrum.