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一个合作影响项目。它建立在PI(Thomas Betteridge教授)和CI(Greg Walker教授)发展的实践作为研究方法以及Wendy Hitchmough博士在HRP中的研究领导角色的基础上，HRP是一个创新遗产研究的国际卓越中心。Hitchmough博士也将是该项目的CI。该项目的目的是在AHRC资助的早期研究项目的研究方法的基础上发展和展示特定地点的表演，并利用宴会之家探索将数字技术，特别是增强现实、虚拟现实和CGI与表演结合起来，作为在具有挑战性的遗产环境中进行研究的一种方法。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殿大会堂上演。这实际上是可能的，因为这些项目考察的戏剧(约翰·海伍德和约翰·斯凯尔顿的宫廷戏剧)需要有限的场景。这个项目介绍了一种更雄心勃勃的戏剧形式，由本·琼森和伊尼戈·琼斯等人创作的斯图尔特面具，经常在宴会厅演出。它将创造知识、概念和制度上的网络和关系，以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很壮观，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)，使得使用传统布景和材料在那里上演雅各布或斯图尔特的面具是不可能的。宴会厅被列为一级建筑，其管理中不可或缺的预防性保护措施排除了安装伊尼戈·琼斯短暂但同样重要的剧场布景的可能性。还有档案证据表明，火炬和其他特效是斯图尔特假面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，似乎对这种特殊效果的需要是一个可能的原因，在鲁本斯的画在1637年安装后，面具不再在宴会厅表演。在宴会厅表演的问题尤其令人沮丧，因为与琼斯的设计相关的相对详细的记录，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的存在。该项目将结合宴会厅的一项创新表演实验，促进两项将学者、数字创新者和表演者聚集在一起的联网活动，以及一项详细的提案，以开发一种基于数字的解决方案，解决利用表演作为研究的问题，以具体探索宴会厅以及更广泛地说在脆弱或高度保护的遗产遗址制作宫廷面具的问题。在这一过程中，它将代表着作为研究小组早期AHRC资助项目的一部分而部署和开发的绩效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.