Reimagining Liveness, Immersion, and Participation in a Post-pandemic Theatre for Generation Z Audiences

为 Z 世代观众重新构想疫情后剧院的活力、沉浸感和参与度

• 批准号: 2872522
• 金额: --
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2872522
• 关键词: Reimagining; Liveness; Immersion; Participation; Post

"Digital natives" is a term coined by educationist Marc Prensky to describe urban dwellers born after the 80s who grew up with digital devices. They are characterized by short attention spans, quick learning speeds, fast access to new information, a penchant for the visual than textual, heightened eye-hand coordination, nonlinear processing, and the ability to multitask. Prensky's hypothesis has since sparked much research in the field of student engagement across the globe, more so during the pandemic when these digital natives attended classes from their homes. Since the 1970s, artists began to confront live performances with a mediated presence. This marked the genesis of intermediality, where digital technology is incorporated into theatre practices. The pandemic has evolved this relationship further, prompting new ways of making and seeing. Intermedial theatre offers plenty of untapped potential in attracting digital natives to a growing "experience economy." Little has been documented so far, in writing or practice, on the relationship between intermedial theatre and digital natives. As theatre-makersreturn to their creative spaces in a digitized post-pandemic world, they need to take a hard look at what makes their work urgent, relevant, meaningful, inclusive, accessible, and most importantly, inimitable. Digital natives currently form the largest cohort of new audiences across the globe and will soon take the place of theatre's biggest stakeholders. If theatre-makers returned to their practice without considering how this demographic functions and operates, they risk losing them entirely to other more innovative forms of media.Through three sequential creative projects, this research intends to explore new intermedial theatre-making approaches targeted specifically at post-pandemic digital natives. Each project is framed by a theatrical focus (liveness, immersiveness, or participatory potential) and aims to materialize into a physical event from one location. The following questions ground the production of each project: *What are characteristics of digital natives that can be translated into the creation of a theatrical experience? * How can these characteristics inform the piecing together of text, space, time, bodies, and media in a manner that is accessible and meaningful? How does intermediality enrich the work? * How do current technologies (including digital devices brought along by audiences) support, mediate, and transcend the theatrical experience? How can these devices and software be utilized in novel ways?The goal of this research is to develop tools to welcome digital native audiences back into shared physical spaces while keeping them active, engaged, and involved through new means. The curation of these new experiences must ultimately be distinct from the way they consume and interact with digital media on its own. This research brings together artists from Europe and Asia and fosters new long-term collaborative opportunities between theatre companies, arts communities, and institutes of higher education. These opportunities further transnational and intercultural understanding in a digitized world that is getting smaller. A digital archive of interviews, observations, processes, practical approaches, productions, feedback, and self-reflections from each project will be made available to the public via a website.

“数字原住民”是教育学家马克·普伦斯基（Marc Prensky）创造的一个术语，用来描述80后出生的城市居民，他们在数字设备中长大。他们的特点是注意力持续时间短，学习速度快，快速获得新信息，对视觉的偏好超过文本，增强眼手协调，非线性处理和多任务处理能力。普连斯基的假设引发了地球仪学生参与度领域的大量研究，尤其是在大流行期间，这些数字原住民在家里上课。自20世纪70年代以来，艺术家们开始以一种中介的存在来面对现场表演。这标志着中间性的起源，数字技术被纳入剧院实践。大流行进一步发展了这种关系，催生了新的制作和观看方式。在吸引数字原住民进入日益增长的“体验经济”方面，媒体间剧院提供了大量尚未开发的潜力。“到目前为止，在写作或实践中，关于中间剧院和数字原住民之间的关系几乎没有记录。随着戏剧制作人在数字化的后流行世界中重返他们的创作空间，他们需要认真审视是什么让他们的工作变得紧迫、相关、有意义、包容、可及，最重要的是，独一无二。数字原住民目前是地球仪最大的新观众群体，并将很快取代剧院最大的利益相关者。如果剧场制作者不考虑这一人群的功能和运作方式，就回到他们的实践中，他们可能会完全失去他们，转向其他更具创新性的媒体形式。通过三个连续的创意项目，本研究旨在探索新的中间剧场制作方法，专门针对后疫情数字原生代。每个项目都以戏剧焦点（活跃性，沉浸感或参与潜力）为框架，旨在从一个位置实现物理事件。以下问题是每个项目制作的基础：* 数字原住民的哪些特征可以转化为戏剧体验的创造？* 这些特征如何以一种可访问和有意义的方式告知文本、空间、时间、身体和媒体的拼凑？中介性如何丰富工作？* 当前的技术（包括观众沿着带来的数字设备）如何支持、调节和超越戏剧体验？如何以新的方式利用这些设备和软件？这项研究的目标是开发工具，欢迎数字原生受众回到共享的物理空间，同时通过新的手段保持他们的活跃，参与和参与。这些新体验的策划最终必须与他们自己消费和与数字媒体互动的方式不同。这项研究汇集了来自欧洲和亚洲的艺术家，并促进戏剧公司，艺术社区和高等教育机构之间新的长期合作机会。这些机会在一个越来越小的数字化世界中促进了跨国和跨文化的理解。每个项目的访谈、观察、过程、实践方法、制作、反馈和自我反思的数字档案将通过网站向公众提供。