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

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（托马斯教授Betteridge）和CI（教授格雷格步行者）开发的实践研究方法，以及Wendy Hitchmough博士在HRP中的研究领导作用，HRP是创新遗产研究的国际卓越中心。Hitchmough博士也将是该项目的CI。该项目的目的是建立和展示特定地点的性能作为早期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与性能相结合的方法，作为在具有挑战性的遗产环境中进行研究的方法。作为亨利西亚宫廷戏剧和上演亨利西亚宫廷项目的一部分，戏剧讲习班和戏剧在汉普顿宫廷宫殿的大厅演出。这实际上是可能的，因为这些项目所研究的戏剧（约翰·海伍德和约翰·塞克斯顿的宫廷戏剧）需要有限的布景。这个项目解决了一个更雄心勃勃的戏剧形式，斯图尔特面具创造的喜欢本琼森和伊尼戈琼斯这是经常在宴会厅进行。它将创造知识、概念和制度上的网络和关系，以发展技术为主导的解决方案，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面具非常壮观，但建筑的遗产地位，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），使得不可能使用传统的布景和材料在那里上演一场历史上准确的蚕豆或斯图尔特面具表演。宴会厅是一级登录建筑，其管理中不可或缺的预防性保护措施排除了安装，例如，Inigo Jones的短暂但仍然是实质性的戏剧布景。也有档案证据表明，火炬和其他特殊效果是斯图亚特面具表演的重要组成部分，不可能在宴会厅重新上演这些。事实上，似乎需要这种特殊效果是一个可能的原因，为什么在鲁本斯的绘画安装在1637年，面具不再在宴会厅进行。在宴会厅表演的问题特别令人沮丧，因为存在相对详细的记录，例如琼斯的设计，表演空间的生存非常接近其原始状态，以及许多戏剧的全文。该项目将结合联合收割机在宴会厅的创新性能实验，促进两个网络活动，汇集了学者，数字创新者和表演者，并详细建议开发一个基于数字的解决方案，以解决使用性能作为研究的问题，特别是探索在宴会厅和更普遍的脆弱或高度保护的遗产地制作宫廷面具。在这一过程中，它将代表着研究小组作为人权委员会先前资助的项目的一部分部署和开发的“业绩即研究”方法的创新发展。

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.