1,720,961 research outputs found
Τheatre Performance Transformations in the Twilight of the Pandemic: video theatre and prosumer culture – and after?
No full textH πανδημία ώθησε το θέατρο στα όριά του και επέβαλε την εύρεση δημιουργικών λύσεων. Το θέατρο κλήθηκε να μετασχηματιστεί σε βιντεοθέατρο (video theatre) και βιντεοδράμα (video drama) και να κατακλύσει ιστοτόπους ως ένα ακόμη «παράθυρο», ανάμεσα σε ειδήσεις, διαφημίσεις και ποικίλο άλλο περιεχόμενο. Μια ακόμη λύση που αναδείχθηκε και επικοινωνεί με την κουλτούρα των παραγωγών-καταναλωτών (prosumers) ήταν οι πρόβες σε ανοιχτούς χώρους. Το άρθρο εξετάζει τις δύο αυτές λύσεις που επινοήθηκαν στο πλαίσιο της πανδημίας και την ιδιαίτερη επίδρασή τους στο σώμα της θεατρικής παράστασης, καθώς και τις μακροπρόθεσμες συνέπειές τους. Επαναδιατυπώνει την οντολογία της θεατρικής παράστασης μετά την πανδημία, σε σχέση με την κινούμενη εικόνα, την αφήγηση και τη συμμετοχικότητα.The Covid-19 pandemic pushed theatre to its limits and gave birth to certain creative solutions out of social confinement. It led to its medial transformation into video theatre and video drama. As such, it could enjoy a new status as another «window» on a screen, among advertisements, news and miscellaneous content. Another solution that emerged during the pandemic that resonates with, mostly youth, prosumer culture, was rehearsing in open spaces. The article examines these two major solutions devised during the pandemic and their very special impact on the body of live theatre performance, as well as their possible long-term consequences. It aspires at reformulating the ontology of theatre performance after the pandemic, in relation to the moving image, narrative and participatory culture.
 
The Human and the Chatterbot: Tracing the potential of transdimensional performance
No full textAround the recent turn of the millennium, one of the most promising discourses in performance studies seemed to be about the performative dimension of the chatterbot-what might also be termed its transdimensional potential. A chatterbot is a computer program which simulates human response by words typed and viewed on a computer screen and exhibits symptoms of human cognition. The stimulating chance to contemplate embodied' vs. disembodied' performance in the light of new media and to question performance as a solely human activity has been rather neglected, however, as we unquestioningly embrace entertaining internet applications. The paper aims to critically analyse the performativity of chatterbot in relation to key theories of performance theory and to introduce the reader to the transdimensional performance potential of the human-chatterbot conversation by exploring strategies such as bringing chatterbot-generated content on the stage
Theatre and Performance Go Massively Online During the COVID-19 Pandemic: Implications and Side Effects
Get PDFDuring the COVID-19 pandemic, theatre groups and companies started massively providing online (filmed) versions of their productions. Theatre performances, live-streamed or recorded, have been shown online before, but mostly as a supplementary strategy, assisting the promotion of a live performance, not as a cultural trend per se, nor to the massive extend it has been happening during the pandemic. However, the consumption of this sort of online content, as this is literally what becomes anything posted on the web’s hypertextual multimedial selves, cannot occur without consideration of the potential implications and side effects. What exactly is it we are watching on our screens, why is it marketed as theatre and performance, and why do we consume it as such? In the paper, the Phelan/Auslander debate is revisited, as this eradication of the distinction between the live and the mediatized may indicate performance’s crucial shift away from independence towards technological, economical and linguistic dependence from mass reproduction. However, before lightheartedly welcoming this hybridity of massively experiencing online performances, which springs out from the collision between live performance (art) and web content (creativity), it is worth considering welcoming first digital performance hybrids emerging within and in between the medial restrictions imposed by the pandemic. These bold, experimental, participatory, ‘transparent’ intermedial forms of expression may prove out to be a source of strength in times of crisis
Theatre performance and the digital – what’s the connection? an intermedial approach
Get PDFTheatre and machines share a deep genetic and ontological relationship. The theatre stage not only uses technology but is also a physical and perceptual space, itself mediated, and mediating the visual and acoustic relationship between the worlds of stage and audience. Dramatic, make-believe play is a cognitive machine, allowing the animation of synthetic, fictional agents. Performance, with its broad spectre and typology, provides the intentional, agential and subjective matrix for any “doing”. The machine, on the other hand, reciprocates this investment, by providing itself either as an automaton or puppet, or as a “software” solution, as in acting and directing.
The dynamic of the theatre-machine relationship accumulates in the digital revolution. Indeed, already before B. Laurel’s book Computers as Theatre (1993), the digital showed its first co-fabrications with the analogue on the theatre stage or the computer screen. Mostly on a spectacle and plot level, the digital and the theatre/performance/drama triplet became intertwined so as to give rise to various manifestations of their synergy, digital theatre, cyberformance and cyberdrama, to name but a few. Lately, new evolvements brought forth by emerging extended or mixed reality technologies, including augmented and virtual reality ones, promise even more immersion to the contemporary performing and spectating subject, while AI deluges the public sphere and global culture.
What are the terms of the correlation between theatre/drama/performance and the digital? How may an intermedial approach contribute to the negotiation of the space between the analogue, the digital and the virtual, or between arts, technology and media? What are the latest lessons in adopting a theatrical frame when contemplating digital culture? The lecture is expected to explore the potential of an expanded role of intermediality in such discussion and highlight how the intermedial perspective may be deemed as a possible route for comparing “cabbages and kings”
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Analog and digital role playing games: the learning and the theatrical dimension
No full textThe aim of this dissertation is research into the learning and the theatrical dimensions of analog and digital role playing games. Despite the fact that they differ in terms of their functional properties, the nature of virtuality and their ecologies, they may be considered as facets of the theatrical phenomenon. Reasons supporting this position are the presence of pretense modes in terms of character embodiment and avatar control and of performativity. Objections that support the opposite position are based on questions about the of lack of dramatic text and audience in analog and digital role playing games. The integration of analog and digital role playing games on the theatrical, dramatic and performative continuum poses a question about revising the minimal definition of theatre. Especially in the case of digital role playing games, the impact of the theory and practice of theatre cannot be ignored, as theatrical and performative terms such as cyberdrama, playformance and interactive drama emerge.Analog and digital role playing games, as facets of the theatrical phenomenon, may be used as tools in theatre and drama education and other subjects. Their implementation in educational context relies upon learning theories and promotes various forms of learning, such as experiential and collaborative learning. When these games are used in an educational context, learning outcomes emerge, such as the promotion of cognitive and social skills as well as of empathy. The matter of knowledge transfer from fictional game environments to the physical world and every day life may be addressed effectively with the integration of analog and digital role playing games in learning strategies.Σκοπός της παρούσας μελέτης είναι η διερεύνηση της μαθησιακής και θεατρικής διάστασης των αναλογικών και ψηφιακών παιχνιδιών ρόλων. Παρ' ότι τα υπό μελέτη παιχνίδια διαφέρουν ως προς τις λειτουργικές ιδιότητες, τις οικολογίες και τη φύση της δυνητικότητας που τα διέπουν, φαίνεται ότι μπορούν να θεωρηθούν, στο σύνολό τους, εκφάνσεις του θεατρικού φαινομένου. Λόγοι που συνηγορούν είναι η παρουσία τροπικότητας υπόδυσης χαρακτήρα, ελέγχου avatar και η επιτελεστικότητα. Ενστάσεις για το αντίθετο στηρίζονται στη ρητορική της απουσίας κειμένου και κοινού στα αναλογικά και ψηφιακά παιχνίδια ρόλων. Η ένταξη των αναλογικών και των ψηφιακών παιχνιδιών ρόλων στο θεατρικό, δραματικό και επιτελεστικό συνεχές θα μπορούσε να θέσει ζήτημα αναθεώρησης του ελάχιστου ορισμού του θεάτρου. Ειδικά για την περίπτωση των ψηφιακών παιχνιδιών ρόλων, δε μπορεί να αγνοηθεί η επίδραση της θεωρίας και της πράξης του θεάτρου, που επικυρώνεται με τη χρήση θεατρικών και επιτελεστικών όρων, όπως κυβερνο-δράμα, παιγνιο-επιτέλεση και διαδραστικό δράμα. Τα αναλογικά και τα ψηφιακά παιχνίδια ρόλων, ως εκφάνσεις του θεατρικού φαινομένου, μπορούν και να χρησιμοποιηθούν ως εργαλεία στο μάθημα της θεατρικής αγωγής και στη διδασκαλία άλλων μαθημάτων. Η εφαρμογή τους στην εκπαίδευση εδράζεται σε μαθησιακές θεωρίες και προάγει μορφές μάθησης, όπως τη βιωματική και τη συνεργατική. Κατά την αξιοποίησή τους στην εκπαίδευση φαίνονται να απορρέουν μαθησιακά οφέλη όπως η καλλιέργεια γνωσιακών και κοινωνικών δεξιοτήτων και ενσυναίσθησης. Το ζήτημα περί μεταφοράς γνώσης από το γνωσιακό σύστημα της μυθοπλασίας και του παιχνιδιού στο σύστημα του ανθρώπινου βίου πιθανόν να αντιμετωπίζεται αποτελεσματικά με την αξιοποίηση αναλογικών και ψηφιακών παιχνιδιών ρόλων για μαθησιακούς σκοπούς
Reconsidering Elleström’s medium-centered communication model : a critical inquiry
No full textLars Elleström’s impact on intermedial studies is undoubtedly foundational, multifaceted and systematic. However, his medium-centered model of communication may be said to rephrase some arbitrary communication constants, such as the principle of transfer/transmission of cognitive import between source and target and through the media product. These kind of theoretical attachments imply that several aspects of communication may have remained unaddressed (the compulsive sender/receiver duality), problematized (the triptych channel/message/meaning) and marginalized (the indispensable role of the socio-political modality in communication in Bäckström, Führer and Schirrmacher 219). Others, consequently, have received new layers of perplexity, such as the semiotic modality being considered as post-sensorial and the sensorial as pre-semiotic. Following an empirical method of inquiry, we enter this discourse from the lived-world experience. We explore Elleström’s model in relation to two major examples drawn from his own significant publications, one from the domain of archeology and the other one from dance. We aspire to elucidate Elleström’s original contribution, but also to trace the roots of his medium-centered communication model’s issues, argued here to have been inherited by the Shannon-Weaver prototype (Shannon and Weaver), Saussure’s speech circuit (Saussure), and by a misconception of Aristotle’s model (Aristotle in Narula 25). Finally, we propose a potential expansion of intermedial communication theory, inspired by theoretical dialogues with other fields of inquiry
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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