Investigating Digital (Re)Mediation in the Performing Arts

2018 ◽  
Author(s):  
Dylan On
Keyword(s):  
New Media ◽  
Performing Arts ◽  
Interactive Media ◽  
Human Interaction ◽  
Sporting Events ◽  
Traditional Art ◽  
Theatrical Space ◽  
Art Form ◽  
Immersive Theatre ◽  
Video Calling

As digital technology progresses, it increasingly mediates human interaction. Simple discussion has shifted from occurring only in person to being mediated by telephone, texting, video calling, Twitter, Facebook and a myriad of other technologies and services. Likewise, theatre has been undergoing a similar shift from an art form that only occurs 'in person' to one in which technology often mediates presence. In his book Liveness, Philip Auslander traces the roots of digital mediation back to the advent of television and the resulting cycle of reinterpretation, or remediation as it is termed by Bolter and Grusin, of different art mediums within one another. Innovative Canadian artists Robert Lepage and Kim Collier are currently engaging in the remediation of traditional art mediums on the stage by taking a distinctly cinematic approach to theatre. This study intends to evaluate the remediation of these mediums both in the theatre and in live performances such as sporting events. It will then consider current trends in integrating interactive ‘new’ media into live and pre-recorded events, and how these ‘new’ media may already be manifesting themselves elsewhere via remediation. This discussion will give special consideration to immersive theatre, in which audiences are free to navigate theatrical space autonomously and observe as they wish. Key questions to be considered include: What are the tools of mediation, and what are their effects? How might digital (re)mediation be reinventing the way we tell and receive stories in the theatre? In what ways can the theatre further reinterpret ‘new’ interactive media?

A Conversation on Directing Opera

2021 ◽  
Vol 37 (3) ◽  
pp. 246-255
Author(s):  
Katie Mitchell ◽  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Musical Score ◽  
Senior Lecturer ◽  
Contemporary World ◽  
Art Form ◽  
Don Giovanni ◽  
National Opera ◽  
Dramatic Text ◽  
Theatre Studies ◽  
And Performance

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

Adaptation and Opera

2017 ◽  
Author(s):  
Linda Hutcheon ◽  
Michael Hutcheon
Keyword(s):  
New Media ◽  
Musical Score ◽  
Romantic Period ◽  
Art Form ◽  
History Of

The tried and tested, not the new and original, became the norm early in the over-400-year history of opera, the Ur-adaptive art: because opera is a costly art form to produce, misjudging one’s audience can be disastrous. This may explain the persistence of a version of that familiar, limiting fidelity theory that has gone out of fashion in recent years in other areas. Since the Romantic period, opera’s tradition of Werktreue has demanded authenticity in realizing the operatic work authenticated by tradition. This has made the critical acceptance of adaptations of opera to film, for instance, a challenge. This essay theorizes not only adaptation into opera but also the adaptation of operas to both old and new media. The first, opera as adaptation, is especially complex, for it involves a series of stages: adapted text to libretto; libretto set to musical score; both libretto and score put on stage.

scholarly journals Researching ELT 4.0 and Transmediality: Fostering Transliterate Reading through Transmedia Storytelling

2019 ◽  
Author(s):  
R. Della N Kartika Sari Amirulloh ◽  
Muhammad Amir Zikri
Keyword(s):  
New Media ◽  
Teaching And Learning ◽  
Classroom Observation ◽  
Interactive Media ◽  
Communication Studies ◽  
Story Comprehension ◽  
Transmedia Storytelling ◽  
Class A ◽  
Reading Activities

The notion of Education 4.0 has directed to the utilization of various media platforms in teaching, which, in this context, is the adoption of Transmedia storytelling. Transmedia storytelling is the material presented to the students during the teaching and learning session that aims at fostering students transliterate reading. Through transmedia storytelling students are introduced to reading activities that enable them to read through multiple media platforms presented in class. A number of studies have been done in researching transmediality in the area of communication studies, however only little is known in ELT research. Therefore, this paper endeavors to explore the ways in which transmedia storytelling helps foster students’ transliterate reading. Adopting Transmedia Play and Storytelling theories grounded in transmediality, the paper utilizes a case study as the research design. Employing classroom observation and students’ response sheets, the findings reveal that transmedia storytelling promotes students transliterate reading through facilitating them in engaging with multiple types of visual, audio and interactive media activities. It helps them develop awareness in three areas: 1) awareness of the function of pictures for story comprehension and vocabulary acquisition; 2) awareness of the way sound helps for narrative elements interpretation; 3) awareness of the needs of text-reader transaction through new media for comprehension.

scholarly journals A Māori Model of Leadership Practice

Te Kaharoa ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Te Rita Papesch
Keyword(s):  
Indigenous Knowledge ◽  
Performing Arts ◽  
Personal Communication ◽  
Graduate Degree ◽  
Leadership Practice ◽  
Art Form ◽  
The University ◽  
Management Communications

He Waka Hiringa (HWH) is a Masters of Applied Indigenous Knowledge offered as a programme of two years’ study by Te Wānanga o Aotearoa. The main pre-requisite for enrolment in to this graduate degree is for the student to be a master of their own practice, whatever that practice may be. In other words, they are already leaders in their own field of practice. My task is to help them clarify how they indigenise their practice; introduce them to academic processes to achieve the rangahau (research) around this and encourage them to create their own Models of Practice (MsOP) to guide them as they work with students or clients. In six years three cohorts of students have succesfully graduated through my encouragement in the development and approval of about 100 different new MsOP, each unique in its own way. These add to the use by graduates of HWH to models such as Whare Tapatoru ( Wi Te Tau Huata Snr. 1967, personal communication), Whare Tapawhā (Durie, M. 1984), Te Wheke (Pere, R. 1997) and Poutama Pōwhiri (Huata, P. 2011) to name a few well known MsOP. In terms of a Leadership MOP I have not seen a better model than that created by Te Wairere Te Pūāwaitanga o te Whakaaro Ngaia (my youngest child and daughter) to fulfil the requirements of her Masters in Management Communications and Te Reo Māori (Māori Language) graduate degree at The University of Waikato. I am going to use her MOP for leadership in competitive Kapa Haka[1] (Māori performing arts) as my model in this delivery with her permission. The title comes from a waiata-ā-ringa (action song) composed by one of her tuākana (older sisters), Te Ingo Karangaroa Ngaia, entitled ‘He Rākau Taumatua!’[2], for their whānau (family) kapa haka, Te Haona Kaha.   [1] I use capital letters when talking about the art form and small letters when talking about a group that does the art form. [2] “He rākau taumatua” was first performed as a whakawātea by Te Haona Kaha kapa haka at the Tainui Waka Cultural Trust Regional Kapa Haka competitions in 2016.

scholarly journals Dramaturgia nowych mediów i performans postcyfrowy. Projektowanie doświadczeń użytkownika we współczesnych sztukach performatywnych

2021 ◽  
pp. 107-123
Author(s):  
Jakub Kłeczek
Keyword(s):  
New Media ◽  
User Experience ◽  
Performing Arts ◽  
Experience Design ◽  
User Experience Design ◽  
Media Technologies ◽  
Digital Performance ◽  
Performance Artists ◽  
The Face ◽  
Media Practices

The paper aims to answer the question – to what extent is the current reflection on user experience design in performing arts still valid? The text discusses the concept of post-digital performance (Causey); and the phenomenon of user experience design in the face of new media dramaturgy (Eckersall, Grehan, Scheer). From the perspective of these concepts and phenomena, I describe two works (To Like or Not to Like by Interrobang and Karen by Blast Theory). The text complements the discussion on performance artists’ approaches to media technologies. In this paper, I describe the changes in designing the relationships of performers and users (individualization and personalization) and the contexts of everyday media practices in artists’ strategies.

scholarly journals A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-)

2020 ◽  
Vol 21 (36) ◽  
pp. 13-26
Author(s):  
Emi Hamana
Keyword(s):  
New York ◽  
Cognitive Science ◽  
Performing Arts ◽  
Cultural Value ◽  
Special Focus ◽  
Cognitive Approach ◽  
Experimental Performance ◽  
Interdisciplinary Field ◽  
Theatre Companies ◽  
Immersive Theatre

Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.

Social Interactive Media and Virtual Community Practices

2010 ◽  
pp. 443-452
Author(s):  
Demosthenes Akoumianakis
Keyword(s):  
New Media ◽  
Research And Development ◽  
Social Practice ◽  
Reference Model ◽  
Social Computing ◽  
Interactive Media ◽  
Virtual Community ◽  
Future Research ◽  
Community Practice ◽  
Synergistic Combination

This chapter attempts to consolidate concepts, ideas and results reported in this volume in an effort to synthesize an agenda and sketch a roadmap for future research and development on virtual community practices facilitated by synergistic combination of social interactive media. In this endeavor, the author revisits the notions of new media, communities and social practice, in the light of the preceding chapters and with the intention to pickup seemingly heterogeneous concepts and sketch the puzzle of social interactive media and virtual community practice. The ultimate target is to make inroads towards a reference model for understanding and framing online social practice under the different regimes constituted by new media and social computing.

Documenting Media Art: An Archive and Bridging Thesaurus for MediaArtHistories

Leonardo ◽  
2019 ◽  
Vol 52 (5) ◽  
pp. 435-441
Author(s):  
Oliver Grau ◽  
Sebastian Haller ◽  
Janina Hoth ◽  
Viola Rühse ◽  
Devon Schiller ◽  
...  
Keyword(s):  
Art History ◽  
Significant Loss ◽  
Digital Art ◽  
Media Art ◽  
Innovative Strategy ◽  
International Media ◽  
Traditional Art ◽  
Art Form ◽  
Art Community ◽  
Art Research

While Media Art has evolved into a critical field at the intersection of art, science and technology, a significant loss threatens this art form due to rapid technological obsolescence and static documentation strategies. Addressing these challenges, the Interactive Archive and Meta-Thesaurus for Media Art Research was developed to advance an Archive of Digital Art. Through an innovative strategy of “collaborative archiving,” social Web 2.0 features foster the engagement of the international media art community and a “bridging thesaurus” linking the extended documentation of the Archive with other databases of “traditional” art history facilitates interdisciplinary and transhistorical comparative analyses.

scholarly journals Digital Activism and Indignation Nets in Brazil: The Pressure Groups

2019 ◽  
Vol 11 (1) ◽  
pp. 109-130
Author(s):  
Davi Barboza Cavalcanti ◽  
Elder Paes Barreto Bringel ◽  
Fábio Regueira Jardelino da Costa ◽  
Tassiana Moura de Oliveira ◽  
Vinicius Rodrigues Zuccolotto
Keyword(s):  
New Media ◽  
Digital Media ◽  
Interactive Media ◽  
Digital Activism ◽  
Pressure Groups ◽  
Technological Convergence ◽  
Future Challenges

To understand the relevance of the new media in the formation of the indignation nets, this text, of exploratory stamp, debates the digital activism in contemporary Brazil . Methodologically, we will make a discussion on cyberactivism, digital media, and national pressure groups starting from two examples, Movimento Brasil Livre (The Free Brazil Movement) and Vem pra Rua (Come to The Street movement) – these are key movements in the organisation of the big anti-government mobilisation that took place in 2015–2016 in Brazil. The theme is important because it embraces current and future challenges of the digital activism, once that this field faced significant changes in the last decades, with the development of interactive media and the technological convergence.

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