Digital theatre
Encyclopedia
Strictly, Digital theatre is a hybrid art form, gaining strength from theatre
’s ability to facilitate imagination and create human connections, and digital
technology’s ability extend the reach of communication and visualization. However, the phrase is also used in a more generic sense by companies such as Evans and Sutherland to refer to their fulldome
projection technology products.
in the same unbroken(1) space with a co-present audience. In addition to the necessity that its performance must be simultaneously “live” and digital, the event’s secondary characteristics are that its content should retain some recognizable theatre roles (through limiting the level of interactivity
) and a narrative element of spoken language or text. The four conditions of digital theatre are:
can not be over-emphasized, as it is set in opposition to digital
in order to indicate the presence of both types of communication, human and computer created. Rather than considering the real-time or temporality of events, digital theatre concerns the interactions of people (audience and actors) sharing the same physical space (in at least one location, if multiple audiences exist). In the case of mass broadcast, it is essential that this sharing of public space occurs at the site of the primary artistic event.(6) The next necessary condition for creating digital theatre is the presence of digital media in the performance. Digital media
is not defined through the presence of one type of technology hardware or software configuration, but by its characteristics of being flexible, mutable, easily adapted, and able to be processed in real-time. It is the ability to change not only sound and light, but also images, video
, animation
, and other content into triggered, manipulated, and reconstituted data which is relayed or transmitted in relation to other impulses which defines the essential nature of the digital format. Digital information has the quality of pure computational potential, which can be seen as parallel to the potential of human imagination.
The remaining characteristics of limited interactivity and narrative or spoken word are secondary and less distinct parameters. While interactivity
can apply to both the interaction between humans and machines and between humans, digital theatre is primarily concerned with the levels of interactivity occurring between audience and performers (as it is facilitated through technology).(7) It is in this type of interactivity, similar to other types of heightened audience participation,(8) that the roles of message sender and receiver can dissolve to that of equal conversers, causing theatre to dissipate into conversation. The term “interactive” refers to any mutually or reciprocally active communication, whether it be a human-human or a human-machine communication.
The criteria of having narrative
content through spoken language or text as part of the theatrical event is meant not to limit the range of what is already considered standard theatre (as there are examples in the works of Samuel Beckett
in which the limits of verbal expression are tested), but to differentiate between that which is digital theatre and the currently more developed fields of digital dance9 and Art Technology.(10) This is necessary because of the mutability between art forms utilizing technology. It is also meant to suggest a wide range of works including dance theatre involving technology and spoken words such as Troika Ranch
’s The Chemical Wedding of Christian Rosenkreutz
(Troika Ranch, 2000), to the creation of original text-based works online by performers like the Plain Text Players or collaborations such as Art Grid’s Interplay: Hallucinations, to pre-scripted works such as the classics (A Midsummer Night’s Dream, The Tempest
) staged with technology at the University of Kansas
and the University of Georgia
.
The Participatory Virtual Theatre efforts at the Rochester Institute of Technology take a different approach by have live actors use motion capture to control avatars on a virtual stage. Audience responses are designed into the software that supports the performance. In the 2004 production, "What's the Buzz?" (17), a single node motion capture device controlled the performance of a swarm of bees. Later performances use two motion capture systems located in different buildings controlling the performance on a single virtual stage (18).
These criteria or limiting parameters are flexible enough to allow for a wide range of theatrical activities while refining the scope of events to those which most resemble the hybrid “live”/mediated form of theatre described as digital theatre. digital theatre is separated from the larger category of digital performance (as expressed in the overabundance of a variety of items including installations, dance concerts, Compact disc
s, robot fights and other events found in the Digital Performance Archive).
were among the early leaders in expanding what was considered art, technology, and performance. With the adaptation of personal computers in the 1980s, new possibilities for creating performance communications was born. Artists like Sherrie Rabinowitz and Kit Galloway began to transition from earlier, more costly experiments with satellite transmission to experiments with the developing internet. Online communities such as The Well and interactive writing
offered new models for artistic creativity. With the ‘Dot Com’ boom of the 1990s, telematic artists including Roy Ascott
began to develop greater significance as theatre groups like George Coates Performance Works and Gertrude Stein Repertory Theatre established partnerships with software and hardware companies encouraged by the technology boom.In Australia in the early 1990s Julie Martin's Virtual Reality Theatre presented works at the Sydney Opera House, featuring the first hybrid human digital avatars, in 1996 "A Midsummer Nights Dream featured Augmented Reality Stage sets designed and produced by her company. Researchers such as Claudio Pinanhez at MIT, David Saltz of The Interactive Performance Laboratory at the University of Georgia, and Mark Reaney head of the Virtual Reality Theatre Lab at the University of Kansas
, as well as significant dance technology
partnerships (including Riverbed and Riverbed’s work with Merce Cunningham
) led to an unprecedented expansion in the use of digital technology in creating media-rich performances (including the use of motion capture
, 3D stereoscopic animation, and virtual reality
as in The Virtual Theatricality Lab ‘s production of The Skriker at Henry Ford Community College
under the direction of Dr. George Popovich. Another example is the sense:less project by Stenslie
/Mork/Watz/Pendry using virtual actors that users would engage with inside a VR environment. The project was shown at ELECTRA, Henie Onstad Art Center, Norway, DEAF 1996 in Rotterdam and the Fifth Istanbul Biennial (1997).
Early use of mechanical and projection devices for theatrical entertainments have a long history tracing back to mechanicals of ancient Greece
and medieval magic lantern
s. But the most significant precursors of digital theatre can be seen in the works of the early 20th century. It is in the ideas of artists including Edward Gordon Craig
, Erwin Piscator
(and to a limited degree Bertolt Brecht
in their joint work on Epic Theatre
), Josef Svoboda
, and the Bauhaus
and Futurists
movements that we can see the strongest connections between today’s use of digital media and live actors, and earlier, experimental theatrical use of non-human actors, broadcast technology, and filmic projections.
The presence of these theatrical progenitors using analog media,(15) such as filmic projection, provides a bridge between Theatre
and many of today’s vast array of computer-art-performance-communication experiments. These past examples of theatre artists integrating their modern technology with theatre strengthens the argument that theatrical entertainment does not have to be either purist involving only “live”(16) actors on stage, or be consumed by the dominant televisual mass media
, but can gain from the strengths of both types of communication.
and may accommodate many types of “live”/mediated theatre including “VR Theatre”(11) and “Computer Theatre,”(12) both of which involve specific types of computer media, “live” performers, story/words, and limited levels of interactivity. However, terms such as “Desktop Theatre,”(13) using animated computer avatars in online chat-rooms without co-present audiences falls outside digital theatre into the larger category of digital performance. Likewise, digital dance may fall outside the parameters of digital theatre, if it does not contain elements of story or spoken words.
"Cyberformance
" can be included within this definition of Digital theatre, where it includes a proximal audience: "Cyberformance can be created and presented entirely online, for a distributed online audience who participate via internet-connected computers anywhere in the world, or it can be presented to a proximal audience (such as in a physical theatre or gallery venue) with some or all of the performers appearing via the internet; or it can be a hybrid of the two approaches, with both remote and proximal audiences and/or performers."
:Category:Stage terminology
Theatre
Theatre is a collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music or dance...
’s ability to facilitate imagination and create human connections, and digital
Digital
A digital system is a data technology that uses discrete values. By contrast, non-digital systems use a continuous range of values to represent information...
technology’s ability extend the reach of communication and visualization. However, the phrase is also used in a more generic sense by companies such as Evans and Sutherland to refer to their fulldome
Fulldome
Fulldome refers to immersive dome-based video projection environments. The dome, horizontal or tilted, is filled with real-time or pre-rendered computer animations, live capture images, or composited environments....
projection technology products.
Description
Digital theatre is primarily identified by the coexistence of “live” performers and digital mediaElectronic media
Electronic media are media that use electronics or electromechanical energy for the end-user to access the content. This is in contrast to static media , which today are most often created electronically, but don't require electronics to be accessed by the end-user in the printed form...
in the same unbroken(1) space with a co-present audience. In addition to the necessity that its performance must be simultaneously “live” and digital, the event’s secondary characteristics are that its content should retain some recognizable theatre roles (through limiting the level of interactivity
Interactivity
In the fields of information science, communication, and industrial design, there is debate over the meaning of interactivity. In the "contingency view" of interactivity, there are three levels:...
) and a narrative element of spoken language or text. The four conditions of digital theatre are:
- It is a “live” performance placing at least some performers in the same shared physical space with an audience.(2)
- The performance must use digital technology as an essential part of the primary artistic event.(3)
- The performance contains only limited levels of interactivityInteractivityIn the fields of information science, communication, and industrial design, there is debate over the meaning of interactivity. In the "contingency view" of interactivity, there are three levels:...
,(4) in that its content is shaped primarily by the artist(s) for an audience.(5) - The performance’s content should contain either spoken language or text which might constitute a narrativeNarrativeA narrative is a constructive format that describes a sequence of non-fictional or fictional events. The word derives from the Latin verb narrare, "to recount", and is related to the adjective gnarus, "knowing" or "skilled"...
or story, differentiating it from other events which are distinctly danceDanceDance is an art form that generally refers to movement of the body, usually rhythmic and to music, used as a form of expression, social interaction or presented in a spiritual or performance setting....
, artArtArt is the product or process of deliberately arranging items in a way that influences and affects one or more of the senses, emotions, and intellect....
, or musicMusicMusic is an art form whose medium is sound and silence. Its common elements are pitch , rhythm , dynamics, and the sonic qualities of timbre and texture...
.
”Live,” digital media, interactivity, and narrative
A brief clarification of these terms in relation to Digital theatre is in order. The significance of the terms “live” or “liveness” as they occur in theatreTheatre
Theatre is a collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music or dance...
can not be over-emphasized, as it is set in opposition to digital
Digital
A digital system is a data technology that uses discrete values. By contrast, non-digital systems use a continuous range of values to represent information...
in order to indicate the presence of both types of communication, human and computer created. Rather than considering the real-time or temporality of events, digital theatre concerns the interactions of people (audience and actors) sharing the same physical space (in at least one location, if multiple audiences exist). In the case of mass broadcast, it is essential that this sharing of public space occurs at the site of the primary artistic event.(6) The next necessary condition for creating digital theatre is the presence of digital media in the performance. Digital media
Digital media
Digital media is a form of electronic media where data is stored in digital form. It can refer to the technical aspect of storage and transmission Digital media is a form of electronic media where data is stored in digital (as opposed to analog) form. It can refer to the technical aspect of...
is not defined through the presence of one type of technology hardware or software configuration, but by its characteristics of being flexible, mutable, easily adapted, and able to be processed in real-time. It is the ability to change not only sound and light, but also images, video
Video
Video is the technology of electronically capturing, recording, processing, storing, transmitting, and reconstructing a sequence of still images representing scenes in motion.- History :...
, animation
Animation
Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in several ways...
, and other content into triggered, manipulated, and reconstituted data which is relayed or transmitted in relation to other impulses which defines the essential nature of the digital format. Digital information has the quality of pure computational potential, which can be seen as parallel to the potential of human imagination.
The remaining characteristics of limited interactivity and narrative or spoken word are secondary and less distinct parameters. While interactivity
Interactivity
In the fields of information science, communication, and industrial design, there is debate over the meaning of interactivity. In the "contingency view" of interactivity, there are three levels:...
can apply to both the interaction between humans and machines and between humans, digital theatre is primarily concerned with the levels of interactivity occurring between audience and performers (as it is facilitated through technology).(7) It is in this type of interactivity, similar to other types of heightened audience participation,(8) that the roles of message sender and receiver can dissolve to that of equal conversers, causing theatre to dissipate into conversation. The term “interactive” refers to any mutually or reciprocally active communication, whether it be a human-human or a human-machine communication.
The criteria of having narrative
Narrative
A narrative is a constructive format that describes a sequence of non-fictional or fictional events. The word derives from the Latin verb narrare, "to recount", and is related to the adjective gnarus, "knowing" or "skilled"...
content through spoken language or text as part of the theatrical event is meant not to limit the range of what is already considered standard theatre (as there are examples in the works of Samuel Beckett
Samuel Beckett
Samuel Barclay Beckett was an Irish avant-garde novelist, playwright, theatre director, and poet. He wrote both in English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.Beckett is widely regarded as among the most...
in which the limits of verbal expression are tested), but to differentiate between that which is digital theatre and the currently more developed fields of digital dance9 and Art Technology.(10) This is necessary because of the mutability between art forms utilizing technology. It is also meant to suggest a wide range of works including dance theatre involving technology and spoken words such as Troika Ranch
Troika Ranch
Troika Ranch is a New York City based performance group that integrates dance, theater, and interactive multimedia in their live performances. The company is the collaborative vision of artists Mark Coniglio and Dawn Stoppiello...
’s The Chemical Wedding of Christian Rosenkreutz
Chymical Wedding of Christian Rosenkreutz
The Chymical Wedding of Christian Rosenkreutz was edited in 1616 in Strasbourg , and its anonymous authorship is attributed to Johann Valentin Andreae...
(Troika Ranch, 2000), to the creation of original text-based works online by performers like the Plain Text Players or collaborations such as Art Grid’s Interplay: Hallucinations, to pre-scripted works such as the classics (A Midsummer Night’s Dream, The Tempest
The Tempest
The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where Prospero, the exiled Duke of Milan, plots to restore his daughter Miranda to her rightful place,...
) staged with technology at the University of Kansas
University of Kansas
The University of Kansas is a public research university and the largest university in the state of Kansas. KU campuses are located in Lawrence, Wichita, Overland Park, and Kansas City, Kansas with the main campus being located in Lawrence on Mount Oread, the highest point in Lawrence. The...
and the University of Georgia
University of Georgia
The University of Georgia is a public research university located in Athens, Georgia, United States. Founded in 1785, it is the oldest and largest of the state's institutions of higher learning and is one of multiple schools to claim the title of the oldest public university in the United States...
.
The Participatory Virtual Theatre efforts at the Rochester Institute of Technology take a different approach by have live actors use motion capture to control avatars on a virtual stage. Audience responses are designed into the software that supports the performance. In the 2004 production, "What's the Buzz?" (17), a single node motion capture device controlled the performance of a swarm of bees. Later performances use two motion capture systems located in different buildings controlling the performance on a single virtual stage (18).
These criteria or limiting parameters are flexible enough to allow for a wide range of theatrical activities while refining the scope of events to those which most resemble the hybrid “live”/mediated form of theatre described as digital theatre. digital theatre is separated from the larger category of digital performance (as expressed in the overabundance of a variety of items including installations, dance concerts, Compact disc
Compact Disc
The Compact Disc is an optical disc used to store digital data. It was originally developed to store and playback sound recordings exclusively, but later expanded to encompass data storage , write-once audio and data storage , rewritable media , Video Compact Discs , Super Video Compact Discs ,...
s, robot fights and other events found in the Digital Performance Archive).
History
In the early 1980s, video, satellites, fax machines, and other communications equipment began to be used as methods of creating art and performance.(14) The groups Fluxes and John CageJohn Cage
John Milton Cage Jr. was an American composer, music theorist, writer, philosopher and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde...
were among the early leaders in expanding what was considered art, technology, and performance. With the adaptation of personal computers in the 1980s, new possibilities for creating performance communications was born. Artists like Sherrie Rabinowitz and Kit Galloway began to transition from earlier, more costly experiments with satellite transmission to experiments with the developing internet. Online communities such as The Well and interactive writing
Interactive writing
Interactive writing is a method used in literacy teaching, especially for young children, whereby the students have the opportunity to practice their reading, studying and writing skills in a safe and creative environment....
offered new models for artistic creativity. With the ‘Dot Com’ boom of the 1990s, telematic artists including Roy Ascott
Roy Ascott
Roy Ascott is a British artist and theorist, who works with cybernetics and telematics. He is President of the Planetary Collegium.- Biography :...
began to develop greater significance as theatre groups like George Coates Performance Works and Gertrude Stein Repertory Theatre established partnerships with software and hardware companies encouraged by the technology boom.In Australia in the early 1990s Julie Martin's Virtual Reality Theatre presented works at the Sydney Opera House, featuring the first hybrid human digital avatars, in 1996 "A Midsummer Nights Dream featured Augmented Reality Stage sets designed and produced by her company. Researchers such as Claudio Pinanhez at MIT, David Saltz of The Interactive Performance Laboratory at the University of Georgia, and Mark Reaney head of the Virtual Reality Theatre Lab at the University of Kansas
University of Kansas
The University of Kansas is a public research university and the largest university in the state of Kansas. KU campuses are located in Lawrence, Wichita, Overland Park, and Kansas City, Kansas with the main campus being located in Lawrence on Mount Oread, the highest point in Lawrence. The...
, as well as significant dance technology
Dance technology
The terms dance technology and Dance and Technology refer to application of modern information technology in activities related to dance: in dance education, choreography, performance, and research.-Dance education:...
partnerships (including Riverbed and Riverbed’s work with Merce Cunningham
Merce Cunningham
Mercier "Merce" Philip Cunningham was an American dancer and choreographer who was at the forefront of the American avant-garde for more than 50 years. Throughout much of his life, Cunningham was considered one of the greatest creative forces in American dance...
) led to an unprecedented expansion in the use of digital technology in creating media-rich performances (including the use of motion capture
Motion capture
Motion capture, motion tracking, or mocap are terms used to describe the process of recording movement and translating that movement on to a digital model. It is used in military, entertainment, sports, and medical applications, and for validation of computer vision and robotics...
, 3D stereoscopic animation, and virtual reality
Virtual reality
Virtual reality , also known as virtuality, is a term that applies to computer-simulated environments that can simulate physical presence in places in the real world, as well as in imaginary worlds...
as in The Virtual Theatricality Lab ‘s production of The Skriker at Henry Ford Community College
Henry Ford Community College
Henry Ford Community College is a public two-year college located in Dearborn, Michigan. The school, established in 1938, is accredited by North Central Association of Colleges and Schools and the Michigan Commission on College Accreditation. The school was originally named Fordson Junior College...
under the direction of Dr. George Popovich. Another example is the sense:less project by Stenslie
Stahl Stenslie
Stahl Stenslie is a Norwegian born artist working with cognition and perception manipulative projects. He has produced and exhibited interactive media artworks including cyberSM , sense:less , Solve et Coagula, The Leap, World Ripple and The Blind Theatre...
/Mork/Watz/Pendry using virtual actors that users would engage with inside a VR environment. The project was shown at ELECTRA, Henie Onstad Art Center, Norway, DEAF 1996 in Rotterdam and the Fifth Istanbul Biennial (1997).
Early use of mechanical and projection devices for theatrical entertainments have a long history tracing back to mechanicals of ancient Greece
Ancient Greece
Ancient Greece is a civilization belonging to a period of Greek history that lasted from the Archaic period of the 8th to 6th centuries BC to the end of antiquity. Immediately following this period was the beginning of the Early Middle Ages and the Byzantine era. Included in Ancient Greece is the...
and medieval magic lantern
Magic lantern
The magic lantern or Laterna Magica is an early type of image projector developed in the 17th century.-Operation:The magic lantern has a concave mirror in front of a light source that gathers light and projects it through a slide with an image scanned onto it. The light rays cross an aperture , and...
s. But the most significant precursors of digital theatre can be seen in the works of the early 20th century. It is in the ideas of artists including Edward Gordon Craig
Edward Gordon Craig
Edward Henry Gordon Craig , sometimes known as Gordon Craig, was an English modernist theatre practitioner; he worked as an actor, director and scenic designer, as well as developing an influential body of theoretical writings...
, Erwin Piscator
Erwin Piscator
Erwin Friedrich Maximilian Piscator was a German theatre director and producer and, with Bertolt Brecht, the foremost exponent of epic theatre, a form that emphasizes the socio-political content of drama, rather than its emotional manipulation of the audience or on the production's formal...
(and to a limited degree Bertolt Brecht
Bertolt Brecht
Bertolt Brecht was a German poet, playwright, and theatre director.An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the...
in their joint work on Epic Theatre
Epic theatre
Epic theatre was a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners, including Erwin Piscator, Vladimir Mayakovsky, Vsevolod Meyerhold and, most famously, Bertolt Brecht...
), Josef Svoboda
Josef Svoboda
Josef Svoboda was a Czech artist and scenic designer.Svoboda was born in Čáslav, Czechoslovakia . He began his training as an architect at the Central School of Housing in Prague. At the end of World War II he became interested in theatre and design...
, and the Bauhaus
Bauhaus
', commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term stood for "School of Building".The Bauhaus school was founded by...
and Futurists
Futurists
Futurists or futurologists are scientists and social scientists whose speciality is to attempt to systematically predict the future, whether that of human society in particular or of life on earth in general....
movements that we can see the strongest connections between today’s use of digital media and live actors, and earlier, experimental theatrical use of non-human actors, broadcast technology, and filmic projections.
The presence of these theatrical progenitors using analog media,(15) such as filmic projection, provides a bridge between Theatre
Theatre
Theatre is a collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music or dance...
and many of today’s vast array of computer-art-performance-communication experiments. These past examples of theatre artists integrating their modern technology with theatre strengthens the argument that theatrical entertainment does not have to be either purist involving only “live”(16) actors on stage, or be consumed by the dominant televisual mass media
Mass media
Mass media refers collectively to all media technologies which are intended to reach a large audience via mass communication. Broadcast media transmit their information electronically and comprise of television, film and radio, movies, CDs, DVDs and some other gadgets like cameras or video consoles...
, but can gain from the strengths of both types of communication.
Other terminology
Digital theatre does not exist in a vacuum but in relation to other terminology. It is a type of Digital PerformanceDigital performance
Digital Performance is a very wide category filled with a range of productions, it is a generic performance but with an extra element of incorporating and integrating computer technologies and techniques into the production. You can incorporate multimedia into any type of performance whether it is...
and may accommodate many types of “live”/mediated theatre including “VR Theatre”(11) and “Computer Theatre,”(12) both of which involve specific types of computer media, “live” performers, story/words, and limited levels of interactivity. However, terms such as “Desktop Theatre,”(13) using animated computer avatars in online chat-rooms without co-present audiences falls outside digital theatre into the larger category of digital performance. Likewise, digital dance may fall outside the parameters of digital theatre, if it does not contain elements of story or spoken words.
"Cyberformance
Cyberformance
Cyberformance refers to live theatrical performances in which remote participants are enabled to work together in real time through the medium of the internet, employing technologies such as chat applications or purpose-built, multiuser, real-time collaborative software such as UpStage...
" can be included within this definition of Digital theatre, where it includes a proximal audience: "Cyberformance can be created and presented entirely online, for a distributed online audience who participate via internet-connected computers anywhere in the world, or it can be presented to a proximal audience (such as in a physical theatre or gallery venue) with some or all of the performers appearing via the internet; or it can be a hybrid of the two approaches, with both remote and proximal audiences and/or performers."
See also
- Digital PerformanceDigital performanceDigital Performance is a very wide category filled with a range of productions, it is a generic performance but with an extra element of incorporating and integrating computer technologies and techniques into the production. You can incorporate multimedia into any type of performance whether it is...
- List of acting terms.
- History of theatreHistory of theatreThe history of theatre charts the development of theatre over the past 2,500 years. While performative elements are present in every society, it is customary to acknowledge a distinction between theatre as an art form and entertainment and theatrical or performative elements in other activities...
- Dramatist
- StagecraftStagecraftStagecraft is a generic term referring to the technical aspects of theatrical, film, and video production. It includes, but is not limited to, constructing and rigging scenery, hanging and focusing of lighting, design and procurement of costumes, makeup, procurement of props, stage management, and...
- Suspension of disbeliefSuspension of disbeliefSuspension of disbelief or "willing suspension of disbelief" is a formula for justifying the use of fantastic or non-realistic elements in literary works of fiction...
- theater techniques
- Puppet theater
- Mask Sound & Dance TheaterMétamorphose"Métamorphose" - a song by French singer Amanda Lear released in 1989 by Carrere Records.- Song information :"Métamorphose" was the first single from Amanda's French-Italian album Tant qu'il y aura des hommes. The album was actually a re-release of Uomini più uomini, and consisted mostly of down-...
:Category:Stage terminology
External links
- ‘’The Search for digital theatre’’
- Digital Performance Archive hosted by AHDS Performing Arts
- Ontology vs. History: Making Distinctions Between the Live and the Mediatized
- Merce Cunningham Dance
- Catching Ghosts in Ghostcatching
- “Telematic Dreaming”
- George Coates Performance Works
- Troika Ranch
- Another Language Performance Art Company
- Virtual Theatricality Lab
- Studio for Electronic Theatre - Digital performance research and production