Past, Presents and Futures of Digitally-Mediated Theatre

数字化剧院的过去、现在和未来

• 批准号: 2716919
• 金额: --
• 依托单位: University of Edinburgh
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2716919
• 关键词: Past; Presents; Futures; Digitally; Mediated

The topic I propose to investigate is internet-based mediatised performance. Mediatised performance is a work of performance shown or mediated via a visual medium, usually a technological medium such as a screen. The aim of my project is to determine the extent to which the formal innovations of online platforms affect the meaning and impact of certain performances, whether they were previously staged or created specifically for these platforms. My research will draw upon case studies from the Edinburgh-based Traverse Theatre, an organisation that has devised numerous productions of this type. By examining the role of digital platforms in the production, presentation and distribution of various Traverse shows, I aim to explore how much continuity exists between the theatre's productions and older forms of mediatised performance, and the opportunities digital technology offers to change the way theatre is created and how audiences engage with theatre.My research will draw upon works by Auslander, who has written extensively on the evolution of mediatised performance until the 1990s in publications such as Liveness. My work will also incorporate Phelan's work on co-presence between audiences and spectators in a digitised setting, as this is a prime feature of online performance. Other works examining the integration of digital technology into performance will also be highly useful, such as Aebischer's work on screen technology in staged Shakespeare productions. My research will also contain many interdisciplinary elements, drawing upon work such as McNaughton's examination of camerawork in British televised dramas. Particular academic areas that can also be explored in my topic include labour in performance. The work of Boyle and Essin will be highly useful in that regard, the latter of whom has documented plays' production histories from the perspective of backstage workers. I intend to document the production of certain Traverse shows in a similar manner by examining crew members' work and how their digital creative output engaged audiences. By applying scholars' ideas to the production of online performance, useful insights will emerge in relation to how digital projects correlate with staged and mediatised productions from decades prior. I will seek to answer how theatres such as Traverse have used digital technology in conjunction with dramaturgical processes such as scriptwriting and set designing to resonate with audiences in a new, innovative manner. Determining the ways in which Traverse has devised productions using digital platforms will highlight the extent to which this technology can interweave audiences' in-person experiences with digital narratives, ultimately to develop experiences that are thematically effective for audiences. I also aim to clarify the extent to which digital productions are more accessible to audiences than conventional theatre, and how digital technology may facilitate this accessibility. In doing so, my research will examine how this accessibility may encourage audiences to create works of theatre themselves, and if digital technology can expose the production process behind projects in an equally accessible manner to provide examples for aspiring theatremakers.In addition, I will explore is the extent to which Traverse's online productions correlate with scholarly writings on mediatised performance.By highlighting continuities between mediatised projects from the mid-to-late Twentieth Century and Traverse's present-day productions, my research will highlight how digital technology has opened new avenues to involve audiences in viewing and creating theatre. In determining the continuities and differences between Traverse's online works and older forms of mediatised performance, my research will highlight that traditional notions of performance may be less relevant in the digital age as theatres such as Traverse have used the internet to enhance artistic creation and audience engagement.

我打算研究的主题是基于互联网的中介绩效。媒介表演是通过视觉媒介（通常是屏幕等技术媒介）展示或中介的表演作品。我的项目目的是确定在线平台的形式创新在多大程度上影响了某些表演的意义和影响，无论这些表演是之前上演的还是专门为这些平台创作的。我的研究将借鉴来自爱丁堡特拉弗斯剧院的案例研究，该组织设计了许多此类作品。通过研究数字平台在各种特拉弗斯演出的制作、呈现和发行中的作用，我的目标是探索剧院的制作和旧形式的媒介表演之间存在多少连续性，以及数字技术提供的改变剧院创作方式和观众如何参与戏剧的机会。我的研究将借鉴奥斯兰德的作品，直到20世纪90年代，他在《生活》等出版物上撰写了大量关于中介表演演变的文章。我的作品也将结合费兰关于观众和观众在数字化环境中的共同存在的作品，因为这是在线表演的主要特征。其他研究数字技术与表演结合的作品也将非常有用，比如埃比舍在莎士比亚戏剧作品中关于屏幕技术的作品。我的研究也将包含许多跨学科的元素，借鉴McNaughton对英国电视剧摄影技术的研究。在我的主题中也可以探讨的特定学术领域包括绩效劳动。博伊尔和埃辛的工作将在这方面非常有用，后者从后台工作人员的角度记录了戏剧的制作历史。我打算通过检查工作人员的工作以及他们的数字创意输出如何吸引观众，以类似的方式记录某些特拉弗斯秀的制作。通过将学者们的想法应用于在线表演的制作，将会出现关于数字项目如何与几十年前的舞台和媒介制作相关联的有用见解。我将试图回答像特拉弗斯这样的剧院如何将数字技术与戏剧过程（如编剧和布景设计）结合起来，以一种新的、创新的方式与观众产生共鸣。确定特拉弗斯利用数字平台设计作品的方式，将突显这项技术在多大程度上可以将观众的亲身体验与数字叙事交织在一起，最终为观众创造出主题上有效的体验。我还旨在澄清数字作品在多大程度上比传统戏剧更容易被观众接受，以及数字技术如何促进这种可访问性。在此过程中，我的研究将研究这种可访问性如何鼓励观众自己创作戏剧作品，以及数字技术是否可以以同样可访问的方式暴露项目背后的生产过程，为有抱负的戏剧制作人提供例子。此外，我将探讨特拉弗斯的在线作品与关于媒介表演的学术著作之间的关联程度。通过强调从20世纪中后期的媒介项目和特拉弗斯现在的作品之间的连续性，我的研究将突出数字技术如何开辟了新的途径，让观众参与观看和创作戏剧。在确定特拉弗斯在线作品与旧形式的媒介表演之间的连续性和差异时，我的研究将强调传统的表演概念在数字时代可能不太相关，因为特拉弗斯等剧院已经使用互联网来增强艺术创作和观众参与。