Past, Presents and Futures of Digitally-Mediated Theatre

我建议调查的主题是基于互联网的调解绩效。中介表演是通过视觉媒介展示或中介的表演作品，通常是一种技术媒介，如屏幕。我的项目的目的是确定在线平台的正式创新在多大程度上影响某些表演的意义和影响，无论这些表演是以前上演的还是专门为这些平台创作的。我的研究将借鉴爱丁堡特拉弗斯剧院的案例研究，该组织设计了许多这类作品。通过研究数字平台在各种Traverse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与旧形式的媒介表演之间存在多大的连续性，以及数字技术提供的机会来改变戏剧的创造方式和观众参与戏剧的方式。我的研究将借鉴奥斯兰德的作品，他在20世纪90年代之前一直在Livenity等出版物中撰写大量关于媒介表演演变的文章。我的作品还将包括费伦在数字化背景下观众和观众之间的共同存在的工作，因为这是在线表演的主要特征。其他研究数字技术与表演融合的作品也将非常有用，例如埃比舍尔关于莎士比亚舞台作品中的屏幕技术的作品。我的研究还将包含许多跨学科的元素，借鉴麦克诺顿对英国电视剧中的摄影工作的研究。在我的主题中也可以探讨的特定学术领域包括绩效中的劳动。博伊尔和埃辛的工作在这方面将非常有用，后者从后台工作人员的角度记录了戏剧的制作历史。我打算通过检查剧组成员的工作以及他们的数字创意产品如何吸引观众，以类似的方式记录某些Traverse节目的制作。通过将学者的想法应用于在线表演的制作，有关数字项目如何与几十年前的阶段性和中间化制作相关的有用见解将出现。我将试图回答，像TraVerse这样的剧院是如何将数字技术与编剧和布景设计等戏剧流程结合起来，以一种新的、创新的方式与观众产生共鸣的。确定Traverse使用数字平台设计作品的方式将突显这项技术可以在多大程度上将观众的面对面体验与数字叙事交织在一起，最终开发出对观众主题有效的体验。我还打算澄清数字作品在多大程度上比传统戏剧更容易为观众所接受，以及数字技术如何促进这种获得。在此过程中，我的研究将考察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揭示项目背后的制作过程，为有抱负的戏剧工作者提供范例。此外，我还将探索TraVerse的在线作品与关于中介表演的学术著作之间的关联程度。通过强调20世纪中后期的中介项目与Traverse当今作品之间的连续性，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Traverse的在线作品与旧形式的中介表演之间的连续性和差异性时，我的研究将强调，传统的表演概念在数字时代可能不那么重要，因为Traverse等剧院利用互联网来提高艺术创作和观众参与度。

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.