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Exploring the potential of combining performance and digital research in a heritage context.

探索在遗产背景下将表演和数字研究相结合的潜力。

基本信息

批准号：
AH/N003896/1
负责人：
Thomas Betteridge
金额：
$ 10.08万
依托单位：
Brunel University London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN003896%2F1
关键词：
Exploring potential combining performance digital

项目摘要

This is a collaborative impact project between Historic Royal Palaces, Brunel University, and Edinburgh University. It builds on the practice-as-research methodology developed by the PI (Professor Thomas Betteridge) and the CI (Professor Greg Walker), and Dr Wendy Hitchmough's research leadership role within HRP which is an international centre of excellence for innovative heritage research. Dr Hitchmough will also be a CI on the project. The aim of the project is to build on and showcase the site-specific performance as research methodology of earlier AHRC-funded research projects and to use the Banqueting House to explore ways of combining digital technologies, in particular augmented reality, virtual reality and CGI, with performance as a method for conducting research in challenging heritage environments. As part of the Henrician Court Drama and Staging the Henrician Court projects, theatre workshops and plays were performed in the Great Hall at Hampton Court Palace. This was practically possible because the dramas that these projects examined (court plays by John Heywood and John Skelton) required limited scenery. This project addresses a much more ambitious form of theatre, the Stuart masques created by the likes of Ben Jonson and Inigo Jones which were often performed in the Banqueting House. It will create the networks and relationships, intellectual, conceptual and institutional, for the development of a technology-led solution to the practical problems of performing plays in a fragile heritage space of national and international cultural significance.The masques that Inigo Jones and others staged in the Banqueting House were spectacular, but the building's heritage status, and in particular its ceiling (which is the only surviving in-situ work by Sir Peter Paul Rubens), make it impossible to stage a historically accurate performance of a Jacobean or Stuart masque there using conventional sets and materials. The Banqueting House is a Grade I Listed Building and the preventive conservation measures that are integral to its management preclude the installation of, for example, Inigo Jones's ephemeral but none the less substantial theatrical sets. There is also archival evidence that torches and other special effects were an important part of Stuart masque performances and it would be impossible to restage these in the Banqueting House. Indeed it appears that the need for these kind of special effects is a possible reason why, after the Rubens' painting was installed in 1637, masques were no longer performed in the Banqueting House. The problems of performing in the Banqueting House are particularly frustrating given the relatively detailed records that exist in relation to, for example, Jones' designs, the survival of the performing space in very close to its original state, and the existence of full texts of many of the dramas. This project will combine an innovative performance experiment in the Banqueting House, facilitating two networking events that bring together academics, digital innovators and performers, and a detailed proposal to develop a digitally-based solution to the problems of using performance as research to specifically explore the production of court masques in the Banqueting House and more generally in fragile or highly protected heritage sites. In the process it will represent an innovative development of the performance-as-research methodologies deployed and developed as part of earlier AHRC-funded projects by the research team.

这是历史皇家宫殿、布鲁内尔大学和爱丁堡大学之间的合作影响项目。它建立在 PI（Thomas Betteridge 教授）和 CI（Greg Walker 教授）开发的实践即研究方法论以及 Wendy Hitchmough 博士在 HRP（国际创新遗产研究卓越中心）中的研究领导作用的基础上。 Hitchmough 博士也将担任该项目的 CI。该项目的目的是建立和展示特定场地表演作为早期 AHRC 资助的研究项目的研究方法，并利用宴会厅探索将数字技术（特别是增强现实、虚拟现实和 CGI）与表演相结合的方法，作为在具有挑战性的遗产环境中进行研究的方法。作为亨利宫廷戏剧和亨利宫廷演出项目的一部分，戏剧研讨会和戏剧在汉普顿宫的大厅举行。这实际上是可能的，因为这些项目所考察的戏剧（约翰·海伍德和约翰·斯凯尔顿的宫廷戏剧）所需的布景有限。该项目涉及一种更为雄心勃勃的戏剧形式，即由本·琼森 (Ben Jonson) 和伊尼戈·琼斯 (Inigo Jones) 等人创作的斯图亚特假面舞会，这些舞会经常在宴会厅演出。它将创建智力、概念和制度方面的网络和关系，以开发技术主导的解决方案，解决在具有国家和国际文化意义的脆弱遗产空间中表演戏剧的实际问题。伊尼戈·琼斯和其他人在宴会厅上演的假面舞会非常壮观，但该建筑的遗产地位，特别是它的天花板（这是彼得·保罗·鲁本斯爵士唯一幸存的现场作品），使得使用传统的布景和材料不可能在那里上演历史上准确的詹姆士一世时期或斯图亚特时期的面具表演。宴会厅是一座一级保护建筑，其管理中不可或缺的预防性保护措施禁止安装伊尼戈·琼斯（Inigo Jones）的短暂但仍然重要的戏剧布景。还有档案证据表明，火把和其他特效是斯图亚特假面舞会表演的重要组成部分，不可能在宴会厅重新上演这些表演。事实上，对这些特殊效果的需求似乎是 1637 年鲁本斯的画作安装后，宴会厅不再表演假面舞会的一个可能原因。考虑到与琼斯的设计有关的相对详细的记录、非常接近其原始状态的表演空间的幸存以及许多戏剧的全文的存在，在宴会厅进行表演的问题尤其令人沮丧。该项目将结合在宴会厅进行的创新表演实验，促进两项将学者、数字创新者和表演者聚集在一起的网络活动，并提出一项详细提案，以开发基于数字的解决方案，解决使用表演作为研究的问题，以专门探索宴会厅以及更普遍的脆弱或高度保护的遗产地宫廷面具的制作。在此过程中，它将代表研究团队在早期 AHRC 资助项目中部署和开发的绩效研究方法的创新发展。