The effects on performance methodology of the introduction of a cartoon performer:from the perspective of the writer and performer.

卡通表演者的引入对表演方法论的影响:基于作家和表演者的视角.

• 批准号: AH/F012640/1
• 负责人: Mary Oliver
• 金额: $ 1.83万
• 依托单位: University of Salford
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF012640%2F1
• 关键词: effects; performance; methodology; introduction; cartoon

This Practice-led Research project will bring to performance outcome stage, an original devised work in which one of the performers is a cartoon character. The aim of the research process is to investigate how the introduction of a cartoon performer impacts on devising methodology in performance. Primarily, through comedy script-writing, narrative construction and character development and secondly, how the activity intersects with scenographic elements: drawing, puppetry, design, magic and digital presentation. For this project, the lead researcher/writer/performer will work with an expanded creative team of director, animator, character designer, video editor, soundscape artist and scenographer.The project's focus is greatly influenced by theoretical hypotheses first proposed by US theorist Philip Auslander in his publication 'Liveness: performance is a mediatised culture' (1999) who suggested that the space between the live and mediatised forms of presentation are collapsing. It is increasingly the case that devised performances incorporate new technologies in their systems of communication, however, the impact of the emergent digital technology on performance methodology has not adequately been explored, in part due to the dearth of published outcomes on 'process' from an emic stance. While much analytical work has explored the technological systems that have influenced these changes, very little research has been undertaken on how the inclusion of multimedia has impacted on performance devising methods. In addition, the complexities of discourse that surround the dominance of technology in society has led to an over-theorisation of the subject, removing it from the very human qualities that make the live performer essential. Issues around physical presence, actual / virtual performer discourses and performer / spectator relationships have dominated the researcher's practice-led activities to date. By exploring the application of comedy writing methods to media-driven performance, the lead researcher has previously demonstrated, through a series of publications, ways in which real-time and spontaneous performance elements create new connections between the actual and virtual performer. This privileged viewpoint offers an unusual and largely undocumented contribution to the knowledge base on performance methodology. The interpretation process will allow the researcher/practitioner to reflexively interrogate the relational aspects of the project. Methods of data gathering will follow the natural evolution of the project and output from various stages of the project will serve as records. Through published report, planned public performances and symposia presentations, this project will impact immediately. Locally, it will contribute to the methods used for the teaching of multimedia performance and generically on our growing understanding of the role of the live performer within an ever increasing technologised society. The research also echoes activities being undertaken in the wider cultural forum. With its experimentation into and employment of expanded interactive forms of communication, it links into research being undertaken in other areas of the media communication industry, notably digital storytelling, gaming, and information systems. The outcomes of this project will: Contribute to the body of knowledge on devising methods in the field of contemporary performance.Will further develop our understanding of the relationship of human to virtual performer interface.Add to the body of knowledge for script-development in interactive storytelling in particular the role of comedy writing.Contribute to the wider discourse on performer presence, liveness andscenography in digital performance.Offer an insight into working with an expanded industrial team.

这个以实践为主导的研究项目将把一个原创设计的作品带到表演成果阶段，其中表演者之一是卡通人物。研究过程的目的是调查卡通表演者的引入如何影响表演方法的设计。首先，通过喜剧剧本写作、叙事构建和角色发展，其次，活动如何与场景元素相交叉：绘画、木偶、设计、魔术和数字演示。对于这个项目，首席研究员/作家/表演者将与一个由导演、动画师、角色设计师、视频编辑、音景艺术家和场景设计师组成的扩大的创意团队合作。该项目的重点很大程度上受到美国理论家菲利普·奥斯兰德在其出版物“现场性：表演是一种媒体化文化”（1999）中首次提出的理论假设的影响，他认为现场和媒体化的呈现形式之间的空间正在崩溃。设计的表演越来越多地在其通信系统中融入新技术，然而，新兴数字技术对表演方法的影响尚未得到充分探讨，部分原因是缺乏从主位立场发表的“过程”成果。虽然许多分析工作都探索了影响这些变化的技术系统，但很少有人研究多媒体的包含如何影响表演设计方法。此外，围绕技术在社会中的主导地位的话语的复杂性导致了对该主题的过度理论化，使其脱离了使现场表演者变得至关重要的人类品质。迄今为止，围绕物理存在、实际/虚拟表演者话语以及表演者/观众关系的问题主导了研究人员的实践主导活动。通过探索喜剧写作方法在媒体驱动表演中的应用，首席研究员此前已通过一系列出版物展示了实时和自发的表演元素在实际和虚拟表演者之间创建新联系的方式。这种独特的观点为绩效方法论的知识库提供了不寻常且很大程度上未记录的贡献。解释过程将允许研究人员/从业者反射性地询问项目的相关方面。数据收集方法将遵循项目的自然演变，项目各个阶段的输出将作为记录。通过发布的报告、计划的公开表演和研讨会演示，该项目将立即产生影响。在当地，它将有助于多媒体表演教学方法的发展，并有助于我们对现场表演者在日益技术化的社会中的作用的日益理解。该研究还呼应了更广泛的文化论坛中正在开展的活动。通过对扩展的交互式通信形式的实验和使用，它与媒体通信行业其他领域（特别是数字故事讲述、游戏和信息系统）正在进行的研究联系起来。该项目的成果将： 有助于建立当代表演领域设计方法的知识体系。将进一步加深我们对人与虚拟表演者界面关系的理解。增加交互式讲故事中脚本开发的知识体系，特别是喜剧写作的作用。有助于更广泛地讨论数字表演中的表演者存在、活力和场景。提供与扩大的工业团队合作的见解。