Journal articles: '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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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.

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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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Slishkin, Gennadiy G., and Liudmila A. Borbotko. "THEATRE COMMUNICATIVE SPACE: DIGITAL EVOLUTION AND PROSPECTS." Current Issues in Philology and Pedagogical Linguistics, no. 4 (2018): 126–33. http://dx.doi.org/10.29025/2079-6021-2018-4(32)-126-133.

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Brilli, Stefano, and Laura Gemini. "Trailers as mediatized performances: Investigating the use of promotional videos among Italian contemporary theatre artists." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 77–95. http://dx.doi.org/10.1386/jicms_00103_1.

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In the theatre sector, many companies, festivals and theatres have integrated promotional videos into their communication strategies. This recent development is undoubtedly due to the rise of social media and the increasing accessibility of video technologies, but also to the need for theatre companies to publicize their work in a media that combines creative autonomy with economic efficiency. Despite this widespread use, trailers in the performing arts have received little attention in academic literature. This article offers the first, exploratory study on the use of promotional videos in the field of contemporary theatre in Italy and on the connections between the current creation of digital promotional clips and the heritage of the Italian video-theatre. Through in-depth interviews with sixteen of the leading Italian companies, this research aims to bring out the role theatre trailers play for performance artists.

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Dixon, Steve. "Remediating Theatre in a Digital Proscenium." Digital Creativity 10, no. 3 (September 1999): 135–42. http://dx.doi.org/10.1076/digc.10.3.135.3240.

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Salihbegovic, Fahrudin. "Multimedia theatre before the digital age." Scene 1, no. 3 (December 1, 2013): 389–403. http://dx.doi.org/10.1386/scene.1.3.389_1.

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Matussek, Peter. "Memory Theatre in the Digital Age." Performance Research 17, no. 3 (June 2012): 8–15. http://dx.doi.org/10.1080/13528165.2012.696853.

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Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.

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Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to archival samples of performances in the following genres: opera, ballet, operetta, and musical. Additionally, the museum offers access to a presentation of the achievements of music and stage art through permanent thematic collections of repertoire programs, up-to-date information about the creative process of artists, conductors, directors, scenographers, choreographers. Keywords: Digitization, Preservation, Cultural Heritage, Digital Collections, Musical Theatre, Opera, Ballet

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Darroch, Michael. "Digital Multivocality and Embodied Language in Theatrical Space." Mettre en scène, no. 12 (February 19, 2010): 95–114. http://dx.doi.org/10.7202/039233ar.

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Abstract This paper investigates the changing relation of the human voice to theatrical space. Innovations in digital sound technologies are reconfiguring the materiality of the voice and, consequently, the mediality of contemporary theatre. Western theatre, which developed alongside the shift from an oral to a visually-oriented, literate society, has largely remained a visual medium that continually subsumes orality. New media of the 19th and 20th centuries prompted various proposals for a “total theatre,” which generally worked towards removing voice and language from the theatrical environment. Drawing upon the recent multivocal works of Quebec artist Marie Brassard, the author proposes that today’s digital sound technologies are redrawing the possibilities for voice in a theatre that enables, in McLuhan’s terms, the constant “interplay of the senses” within a new acoustic space.

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Limniou, Maria. "The Effect of Digital Device Usage on Student Academic Performance: A Case Study." Education Sciences 11, no. 3 (March 12, 2021): 121. http://dx.doi.org/10.3390/educsci11030121.

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The aim of this investigation was to explore student behaviour when students brought their own digital devices into a lecture theatre. A total of 361 undergraduate psychology students from the University of Liverpool who used at least one digital device during lecture time fully completed an online questionnaire (159 first-, 124 second- and 78 third-year psychology students) during the 2018–2019 academic year. Although all the three years of undergraduate students brought laptops and/or smartphones into a lecture theatre, there was no significant difference in academic performance over the years of studies. The findings have linked student multitasking processes in a lecture theatre to Social Cognitive Theory principles (reciprocal interactions between behaviours, learning environment, and individuals). There was a significant difference between the three years regarding the use of applications and student characteristics after controlling for the different types of devices. Students who used only one application during lecture time were more likely to achieve higher academic performance as they were less distracted from their primary tasks of processing and retaining information. Overall, this investigation concluded the importance of reconsidering the teaching delivery process so as to avoid students’ escapism using devices during lecture theatres due to their engagement level and lecture norm pressures.

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Nemchenko, Lilia M. "Theatrical Dialogue in the Digital Age: From Director’s Theatre to the Theatre Onscreen." Changing Societies & Personalities 4, no. 4 (December 29, 2020): 457. http://dx.doi.org/10.15826/csp.2020.4.4.111.

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Thanks to its inherent nature, theatre has been better able than other artforms to resist the challenges presented by information and digital culture, which are based on the principle of reproduction. Since a theatrical text is created anew each time, an audience can enter into a real-time dialogue with a concrete group of players recreating an authorial concept. This is true even when, as in director’s theatre, a director’s interpretation is performed by different acting companies.Today, however, the hubris of theatre critics and enthusiasts, who value unmediated dialogue as a pre-condition of theatrical pragmatics, has collided with the novel theatrical practice of live broadcasting, which was preceded by the standalone genres of radio and television plays. As a performance art, theatre possesses characteristics of a virtual object, where the information about such an object exists only in the memories of audiences or professional critics. In becoming digitised, theatre loses its former character – the uniqueness of presence in a concrete theatrical here-and-now that can never be repeated – and acquires a new mode of existence within a movie theatre represented in Russia by the Theatre HD project, which translates the theatrical educational mission into the digital age by involving new participants in creative dialogue.

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Varela, Miguel Escobar. "Hacking and Rehearsing: Experiments in Creative Tinkering." New Theatre Quarterly 32, no. 1 (January 7, 2016): 68–77. http://dx.doi.org/10.1017/s0266464x15000871.

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Hacking – improving software through a process of trial and error – is a mode of rehearsal. Such is the claim made by Miguel Escobar Varela in this article, which he furthers by exploring the similarities between the ways theatre makers and software programmers speak about their crafts. Understanding software programming as an essentially creative process should be of interest for theatre scholars, who are constantly searching for modes of academic discourse that are sensitive to the specificity of theatre. By offering examples from interface design for the study of Javanese theatre, Escobar argues that creating software, through an iterative process of trial and error, can become part of the methodological palette of theatre scholars. Miguel Escobar Varela is Assistant Professor of Theatre Studies at the National University of Singapore, and has worked as a theatre researcher, computer programmer and translator in Mexico, the Netherlands, Indonesia, and Singapore. His articles on the intersection of digital technology and theatre studies have been published in Digital Scholarship in the Humanities, Asian Theatre Journal, Performance Research, Contemporary Theatre Review and are forthcoming in TDR and Theatre Research International.

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Reside, Doug. "“LAST MODIFIED JANUARY 1996”: THE DIGITAL HISTORY OF RENT." Theatre Survey 52, no. 2 (November 2011): 335–40. http://dx.doi.org/10.1017/s0040557411000421.

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Music theatre scholarship, and indeed theatre history research in general, can be accurately described as a subset of media studies. As much as we might claim the contrary to our theatre students, theatre scholarship is not, by and large, the study of live performance but is instead an analysis of our own reconstructions built from the traces theatrical events leave behind. We study not moments but materials, not what was live but rather what was left. Increasingly, these leavings are likely to be digital. Much has been written of late about the current and imminent challenges these “born digital” materials pose for librarians and archivists, and many are now developing processes and procedures for preserving and providing access to them. Relatively little published scholarship has been done using these archives, however, so the emerging practices have yet to be thoroughly tested by researchers.1 In this article I narrate my experiences using the born-digital artifacts in the Jonathan Larson collection at the Library of Congress in an effort to provide an example of one form this sort of scholarship might take.

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MILAN, Stefania, Michael VEALE, Linnet TAYLOR, and Seda GÜRSES. "Promises Made to Be Broken: Performance and Performativity in Digital Vaccine and Immunity Certification." European Journal of Risk Regulation 12, no. 2 (June 2021): 382–92. http://dx.doi.org/10.1017/err.2021.26.

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Digital vaccination certification involves making many promises, few of which can realistically be kept. In this paper, we demonstrate how this phenomenon constitutes various forms of theatre – immunity theatre, border theatre, behavioural theatre and equality theatre – doing so by drawing on perspectives from technology regulation, migration studies and critical geopolitics. Technological theatre and political theatre often serve valid functions, but these forms are problematic for several reasons. First, they involve real-world infrastructures that, while unlikely to accomplish the task at hand, will nevertheless last a long time and be repurposed. They therefore constitute governance by data infrastructure, diverting action and control away from elected legislators to for-profit contractors. Second, vaccine certification effectively legitimises inequalities between countries and people by formalising ways to distinguish between the vaccinated and non-vaccinated and to exclude the latter, thus reinforcing both mobility and connectivity divides. It serves as a way to (further) close borders and to regulate, through code and infrastructure, access to public goods such as employment and public space. Finally, the project of certification displaces a more important action, namely addressing the radical inequality in countries’ ability to combat the pandemic.

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R. Walsh, Ian. "Commedia dell’arte and the Gate Theatre." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 8–26. http://dx.doi.org/10.32803/rise.v4i1.2649.

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This essay reveals the centrality of commedia dell’arte in defining the Gate’s theatrical style in the first four decades of its existence. In its theatricality, as well as its emphasis on the international and the queer, Hilton Edwards and Micheál mac Liammóir found the commedia dell’arte to be an ideal theatrical precedent for their own ambitions and practice. Drawing on materials in the Gate Theatre Digital Archive, NUI Galway, newspaper archives, research by Christopher FitzSimons, David Clare and Nicola Morris and the books of Edwards and mac Liammóir this article charts the origins of their engagement with and conception of the commedia dell’arte and its manifestation in their writings and theatre productions. Building on the work of Eibhear Walshe and Richard Pine on mac Liammóir’s adoption of masks of identity, it is also argues that both Edwards and mac Liammóir assumed the masks of Harlequin and Pierrot, in their writing and performing in order to reveal and shape their queer identities. This examination confirms how embedded European theatrical practice was in the stagecraft of one of Ireland’s premiere theatres and in so doing allows for networks of international artistic influence to be traced in the development of contemporary Irish performance. Keywords: Gate Theatre Dublin, Irish theatre, commedia dell’arte, queer, Hilton Edwards, Micheál mac Liammóir, modernism.

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Веселовська, Ганна. "Dead and Alive in the Digital Technologies Theatre." Artistic Culture. Topical Issues, no. 14 (December 13, 2018): 160–62. http://dx.doi.org/10.31500/1992-5514.14.2018.151176.

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Lee, Dong-Jun. "Study of Digital Technology Acceptance in Domestic Theatre." Journal of Next-generation Convergence Information Services Technology 5, no. 2 (December 31, 2016): 87–98. http://dx.doi.org/10.29056/jncist.2016.12.04.

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Jensen, Amy Petersen. "Special Issue on Theatre, Multimodality, and Digital Media." Youth Theatre Journal 25, no. 2 (July 2011): 101–2. http://dx.doi.org/10.1080/08929092.2011.619369.

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Trubnikova, Nina, and Severyan Tsagareyshvili. "Digital challenges for creative industries: case of opera." SHS Web of Conferences 114 (2021): 01008. http://dx.doi.org/10.1051/shsconf/202111401008.

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Digital technologies today are seen as a powerful driving force of creative industry growth. The authors reveal the development of operatic theatre as a significant entity of a new market reality - the economy of impressions. Notwithstanding the fact that the majority of opera houses are state funded, the issue of economic efficacy is gaining relevance for theaters; increasingly more attention is paid to promoting theatrical product. Despite the fact that the eliteness of operatic art and loyalty to tradition poses restrictions on implanting new instruments of theater branding. active digitization of the opera product is the only plausible means of attracting the attention of the new generations who are used to this format of representing cultural content. This dilemma is analyzed in the article on the basis of the data yielded by a field study in the form of a survey involving Russian and Italian opera lovers.

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Gavrila, Mihaela. "Radioteatro en Italia. Narrativa entre la radiodifusión pública y los nuevos espacios digitales." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 75–98. http://dx.doi.org/10.33732/ixc/09/02radiot.

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This paper analyzes Italian radio theatre evolution and its ability to put itself always in the middle between radio and other expressive media: theatre, cinema, comics, daily news, books and Internet. Starting from the analysis of the main evolutionary phases of this complex radio genre, this contribution illustrates the complexity of radio theatre as one of the treasures brought to light by media archeology, which lends itself almost naturally to disciplinary and media crossings. In this expressive format, belonging to media proto history, lurks a deeply complex nature and fervent creativity, which rediscovers in the ether an amplifier of the digital, a new space of expressiveness and diversification of its audience. Keywords: Radio Theatre; Media Narratives; Social Cohesion; Innovation; Creativity; Digital Renaissance.

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Lēvalde, Vēsma. "Digimodernisms teātrī: perspektīva un naratīvs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 276–85. http://dx.doi.org/10.37384/aplkp.2020.25.276.

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The digital era has created a new form of textuality, defined ten years ago by British cultural critic Alan Kirby as digimodernism, manifested in both literature and art, and gradually replacing postmodernism. The new media-language theorist Lev Manovich sees similarities in digital art and the aesthetics of the Left Avant-Garde of the 1920s, as well as cinema. In the early and middle 20th-century cinema development produced an impact on modernism art. In the 21st century, digital technologies emerging from film aesthetics leave the footprints in contemporary art and theatre. Identifying the key principles of Kirby’s theory in particular productions allows partial revising Hans-Thies Lehmann’s concept of post-dramatic theatre, and raising a thesis on digimodernism as one of the contemporary tendencies in theatre. Thus, fundamental categories of theatrical language – space, time, character, narrative – are becoming relevant. The article aims to research the narrative in digital art and look for a similar strategy of sense construction in theatre productions, drawing conclusions on the effects of digimodernism on theatre. If a narrative is perceived as a sign system, there are two dimensions – the syntagmatic or “real narrative” and the paradigmatic or a range of choices from which narrative is selectively created. Manovich’s theory proves that in new media language paradigm and syntagma interchange, therefore the paradigm becomes a sense-bearer. Similar principles are applied in modern theatre directing. A typical example is the selected production by Latvian director Elmars Senkovs based on the classic play “Blow, wind!” (Pūt, vējiņi!) by Latvian poet and playwright Rainis. The author of the research concludes that the principles of digimodernism in theatre can change the visual perspective of the stage space, namely, the concepts of “downstage” and “upstage” are often replaced by the terms “top” and “bottom”, making the stage “flat”, similar to a screen. Meanwhile, the central perspective or the narrative as a sense-construction strategy still depends on the intellectual capacity and emotional sensitivity of theatre-makers as interpreters.

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Edum, Sunday. "Creating a Pocket-Friendly Theatre in Nigeria through the Socialmedia: An Experiment with Ahmed Yerima’s The Sisters Video Upload." International Journal of Culture and History 7, no. 1 (June 20, 2020): 78. http://dx.doi.org/10.5296/ijch.v7i1.17221.

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Theatre practice in Nigeria is facing a general decline due to factors that are very glaring. One of such factor is the digital culture that has forced citizens to live a private live that is more comfortable and thereby reducing patronage. In spite of this obvious fact our theatre is still ignoring the application of these digital network sites especially the social media in redeeming the declined image of the theatre industry. This study uses the literary and artistic methodologies to examine the video upload of Ahmed Yerima’s The Sisters with a view of creating a template for creating a pocket-friendly theatre through the social media. The study therefore, observes that most of the video uploads posted on social media sites are merely for social reasons without commercial drive. It also observes that theatre practitioners in Nigeria are not profit driven but social driven in the practice of their art. The paper therefore, recommends strongly a culture of video upload for commercial reasons, commercialization of websites in most Nigerian universities to generate money for the university and the theatre and improvement on the technical quality of the video uploads.

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ALIYEV, Elshad. "THE APPLICATION PROBLEM OF INTERNET AND MULTIMEDIA TECHNOLOGIES IN MODERN THEATRE IN AZERBAIJAN." Volume 4, Issue 2 4, no. 2 (May 20, 2021): 59–65. http://dx.doi.org/10.31566/arts.4.2.01.

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Almost all fields of art intersect in the theatre. From this point of view, the theatre is a unique place. It’s been decades that creative people working in the field of theatre try to use new technologies whenever possible. Various types of spectacles, show and performances are created using constantly evolving Internet technologies and multi-media.V arious types of digital equipment, devices, computer programs, gadgets and internet technologies are used in scenography, music and lighting. The application problems of information and communication technologies in the theatre make modern theatre critics think and lead to certain predictions about the future of the theatre. In any case, new multimedia technologies are already becoming an integral part of theatrical art.

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Atallah, S. "The dawn of the digital operating theatre and the rise of the digital surgeon." Techniques in Coloproctology 19, no. 9 (June 17, 2015): 499–501. http://dx.doi.org/10.1007/s10151-015-1325-2.

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Bagdasarova, Anna A. "A man in a digital age: Digital world interpreted in J. Campos García’s theatre." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 118–27. http://dx.doi.org/10.18522/2415-8852-2020-1-118-127.

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The article conceptualizes the problem of the place and the role of technology in the life of humanity and its significance in today’s society. The analysis is based on the plays written in the 2000’s by Jesus Campos Garcia, one of the most beloved modern Spanish playwrights. Campos Garcia’s theatre is always closely linked to relevant socio-cultural problems and represents the playwright’s comprehensive introspection towards how specific the influence of modern technology – primarily digital technology – on modern life is; his self-consciousness. An exemplary work in this respect is his existential drama “Naufragar en Internet” (1999) followed by Campos Garcia’s essay “La tecnología como metáfora” (2004), in which, early into the era of active computerization he addresses the questions of the correlation between the real and the virtual; the influence of technology on everyday life and the opening up of possibilities; the existential fears and aspirations of humanity – the fear of non-existence, thirst for immortality, etc. – reflected in modern technology. The present topic is further developed in the playwright’s later works (“d.juan@simetrico.es” 2008; “...y la casa crecía”, 2016).

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Marx, Wolfgang. "(Dis-)Embodied Voices and Digital Liveness: Music Theatre in Lockdown." INSAM Journal of Contemporary Music, Art and Technology, no. 6 (July 15, 2021): 22–39. http://dx.doi.org/10.51191/issn.2637-1898.2021.4.6.22.

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20 Shots of Opera, released in December 2020, is a series of twenty short pieces of music theatre between five and eight minutes long. They were created and produced in just a few months. What makes the pieces special is that they were conceived to be produced under pandemic conditions and with purely an online reception in mind. This has affected details of the recording process as well as directorial concepts such as the use of animation or superimposition of pictures. This article will analyze how selected Shots engage with these conditions, look at different types of how the voices are used and assess the specific aesthetic circumstances of digital reception, as well as discussing other specific challenges and opportunities of creating music theatre in times of Covid-19.

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Jordan, Richard. "Distributed Agencies in Dramatic Form: A Posthuman Perspective on Lucy Prebble’s The Sugar Syndrome and Sarah Ruhl’s Dead Man’s Cell Phone." Modern Drama 64, no. 1 (March 2021): 1–23. http://dx.doi.org/10.3138/md.64.1.1055.

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The past two decades have seen a significant increase in western drama incorporating digital technologies on stage. While theatre scholars have regularly applied posthuman or cyborg theory to make sense of digital spectacle in performance, this article extends a posthuman approach to dramatic form by considering two plays from the early 2000s, a time of substantial technological change within affluent western societies. In both Lucy Prebble’s The Sugar Syndrome (2003) and Sarah Ruhl’s Dead Man’s Cell Phone (2007), the human characters share dramatic agency with the digital devices that surround them, co-initiating and co-escalating the drama. This distributed agency creates a shift in how the humans begin to perceive themselves and each other: from rational, coherent, autonomous selves – a liberal humanist subjectivity – to heterogeneous assemblages reminiscent of a digital computer – a posthuman subjectivity. While much posthuman theatre scholarship has focused on digital or bodily spectacle, dramaturgical analysis can also reveal the neglected technology of dramatic form to construct posthuman subjectivities for the stage.

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Mathieu, Laurent, Michel Levadoux, Emmanuel Soucany de Landevoisin, Tarun J. McBride Windsor, and Sylvain Rigal. "Digital replantation in forward surgical units: a cases study." SICOT-J 4 (2018): 9. http://dx.doi.org/10.1051/sicotj/2018004.

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Introduction: Noncombat-related hand injuries are common in current theatres of operations. Crushing is one of the most frequent mechanisms that may cause traumatic amputations of digits. In the military setting, management of these digital amputations is challenging regarding limitation in microsurgical means in medical treatment facilities and aeromedical evacuation delays out of the combat zone. Methods: Two cases of digital replantation performed in French forward surgical units are described. The first case was a complete distal amputation of the medius which was successfully replanted in the operating theatre of an aircraft carrier. No complication was observed after evacuation. Functional and aesthetic results were excellent. The second case was a ring finger avulsion revascularized in a role 2 facility in Central African Republic. Unfortunately, revascularization failed due to arterial thrombosis during evacuation. Results: Digital, hand or more proximal upper extremity replantation may be considered for isolated amputations due to work-related accidents within the combat zone. For a surgeon trained to microsurgery, a microsurgical set and magnification loupes enable to attempt such procedures in austere conditions. Discussion: The authors propose an algorithm of management in the field according to the type and level of amputation.

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Felton-Dansky, Miriam. "The Algorithmic Spectator: Watching Annie Dorsen's Work." TDR/The Drama Review 63, no. 4 (December 2019): 66–87. http://dx.doi.org/10.1162/dram_a_00875.

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Annie Dorsen's digital theatre works reshape the possibilities of the encounter between humans and algorithmic forces. They both address and embody a world in which emotion, cognition, and narrative are increasingly controlled by algorithmic programs; and they invite the spectator to confront a nonhuman and algorithmic logic experientially, altered and pressurized by the terms of the theatre itself.

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Prior, Yoni, Manon van der Laaken, and Rose van der Zwaard. "Artspeak: Articulating Artistic Process Across Cultural Boundaries through Digital Theatre." International Journal of the Arts in Society: Annual Review 4, no. 3 (2009): 433–46. http://dx.doi.org/10.18848/1833-1866/cgp/v04i03/35659.

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Presotto, Marco. "Towards a Model of Critical Digital Edition of Lope's Theatre." Anuario Lope de Vega Texto literatura cultura 21 (January 30, 2015): 79. http://dx.doi.org/10.5565/rev/anuariolopedevega.115.

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Hose, J., M. Winchell, K. Walker, and J. Ratzel. "Data Transport and Processing in a Digital Cinema Theatre System." SMPTE Motion Imaging Journal 111, no. 12 (December 2002): 600–608. http://dx.doi.org/10.5594/j14145.

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Alrutz, Megan. "Sites of possibility: applied theatre and digital storytelling with youth." Research in Drama Education: The Journal of Applied Theatre and Performance 18, no. 1 (February 2013): 44–57. http://dx.doi.org/10.1080/13569783.2012.756169.

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Wilson, Graham A. "The use of using digital tools in developing branching narrative." Book 2.0 10, no. 1 (May 1, 2020): 117–39. http://dx.doi.org/10.1386/btwo_00023_1.

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As a lecturer in computing at Moray College UHI, and having recently rekindled my passion for branching narrative and particularly gamebooks, when an opportunity arose to conduct the ‘Digital Futures’ research project, I was able to merge my interest in software development with an exploration of digital tool use in writing branching narrative. The aim of the research is to enhance the employment opportunities of creative writing students by potentially developing pathways into authoring gamebooks, digital games, televisual media or theatre productions. I conducted a background study examining the historical and current state of branching narrative and conversed with gamebook authors about the software tools they used and their world-building and publishing experiences. Similar conversations were held with games writers/developers and an interactive theatre producer. This article presents the key elements of that background study and conversation highlights, along with an evaluation of the advantages and disadvantages of using digital tools to develop branching narrative.

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Campi, M., A. di Luggo, D. Palomba, and R. Palomba. "DIGITAL SURVEYS AND 3D RECONSTRUCTIONS FOR AUGMENTED ACCESSIBILITY OF ARCHAEOLOGICAL HERITAGE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 205–12. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-205-2019.

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Abstract. This paper presents part of the results of a larger research project that focused on the surveying and documenting of Roman theatres and amphitheatres in the Campania region as well as the testing of a virtual fruition system for the digital reconstruction of a case study: the Roman theatre of Benevento. The work was carried out by the research group at the Interdepartmental Urban/Eco Research Centre of the University of Naples Federico II in collaboration with Spinvector, a company specialized in ICT – Information and Communication Technology – which lead to the defining of a fruition system of Cultural Heritage applied to archaeological heritage.The project included 3D digital surveys of the study samples carried out using reality-based techniques, which allowed for the acquisition of metric, morphological, geometric and colorimetric data. This made it possible to elaborate three-dimensional models, based on the current configuration of the places as well as of the possible original reconfigurations.

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Varney, Denise, and Rachel Fensham. "More-and-Less-Than: Liveness, Video Recording, and the Future of Performance." New Theatre Quarterly 16, no. 1 (February 2000): 88–96. http://dx.doi.org/10.1017/s0266464x00013488.

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With the spread of digital and other modes of electronic recordings into the auditoria and lecture theatres where performance is studied, the debate about the video documentation of performance – already well rehearsed and in the pages of NTQ – is about to intensify. Rachel Fensham and Denise Varney have based the article which follows on their own work in videoing live theatre pieces for research into feminist performance. This article deliberates on their experience with the medium and examines the anxieties that surface at the point of implosion between live and mediatized performance. The first part locates these anxieties in the question of presence and absence in performance – especially that of the performer, whose body and self are both at stake in the recorded image. In the second part, the authors offer a description of viewing practices, which they present as a model of ‘videocy’. Rachel Fensham is Senior Lecturer in the Centre for Drama and Theatre Studies, Monash University, and Denise Varney is Lecturer in the School of Studies in Creative Arts, Victorian College of the Arts, University of Melbourne.

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Crossley, Tracy. "Active Experiencing in Postdramatic Performance: Affective Memory and Quarantine Theatre's Wallflower." New Theatre Quarterly 34, no. 2 (April 19, 2018): 145–59. http://dx.doi.org/10.1017/s0266464x18000052.

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Postdramatic approaches to performance and Stanislavsky's methodology seemingly occupy divergent performance traditions. Nonetheless, both traditions often require performers to mine their own lives (albeit to different ends) and operate in an experiential realm that demands responsiveness to and within the live moment of performing. Tracy Crossley explores this realm through an analysis of Quarantine Theatre's Wallflower (2015), an example of postdramatic practice that blends a poetics of failure with a psycho - physical dramaturgical approach that can be aligned with Stanislavsky's concepts of affective memory and active analysis.Wallflower provides a useful case study of practice that challenges the binary opposition between the dramatic and postdramatic prevalent in theatre and performance studies scholarship. Aspects of Stanislavsky's system, nuanced by cognitive neuroscience, can expand the theorization of postdramatic theatre, which in turn generates techniques that can prove valuable in the rehearsal of dramatic theatre itself. Tracy Crossley is a Senior Lecturer in Theatre and Performance at the University of Salford, Manchester. She is currently developing a practical handbook, Making Postdramatic Theatre, for Digital Theatre Plus.

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Rubtsova, O. V., and T. A. Poskakalova. "Drama Activity as a Means of Development and Lear-ning in Adolescence: The Results of an Empirical Study." Психологическая наука и образование 25, no. 6 (2020): 144–56. http://dx.doi.org/10.17759/pse.2020250612.

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The article focuses on the results of the first stage of the research project: “Innovative model of organizing experimental and research activity of adolescents (“Digital Storytelling Theatre”)”, conducted by the Centre for Interdisciplinary Research on Contemporary Childhood in MSUPE. The project aims at elaborating a model of school theatre for adolescents. In the framework of the project theatre is perceived as a particular kind of communicative educational environment, where adolescents can experiment with social and psychological objects — roles, positions and relationships. On the first stage of the project (September 2019 — March 2020) an empirical study was conducted, aimed at investigating theatre activity as an efficient means of development and learning in adolescence. The research was conducted in School № 1564 in Moscow, Russia.72 adolescents aged from 13 to 14 years participated in the study. The data received testify that regular participation in theatre activity contributes to boosting adolescents’ psychological well-being, as well as helps to develop soft skills and improve academic achievement.

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Cox, John. "The Abbey Theatre Digital Archive: a digitization project with dramatic impact." Insights the UKSG journal 30, no. 3 (November 8, 2017): 20–30. http://dx.doi.org/10.1629/uksg.381.

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Lammin, Hannah. "ACT Oedipus: Digital theatre and the apocalyptic structure of re/presentation." Philosophy of Photography 3, no. 1 (December 8, 2012): 89–98. http://dx.doi.org/10.1386/pop.3.1.89_7.

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Wade, Leslie A. "The London Theatre Goes Digital: Divergent Responses to the New Media." Theatre Symposium 19, no. 1 (2011): 54–68. http://dx.doi.org/10.1353/tsy.2011.0007.

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Broadhurst, Sue. "László Moholy-Nagy’s Theatre of Totality: a precursor to digital performance." Theatre and Performance Design 5, no. 1-2 (April 3, 2019): 22–42. http://dx.doi.org/10.1080/23322551.2019.1596415.

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Journal articles on the topic 'Digital theatre'

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