New technologies and geographies in performing art: A study on environments and relationships in some recent shows in Europe

Oronzo Francabandera

doi:10.3280/ess2-2023oa16406

Articles/Articoli

Vol. 14 No. 2 (2023): Art, fashion and environment. Contemporary itineraries among landscapes, curves, and epistemological bumps

New technologies and geographies in performing art: A study on environments and relationships in some recent shows in Europe

Oronzo Francabandera^▸^▾

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DOI: https://doi.org/10.3280/ess2-2023oa16406
Submitted: agosto 30, 2023
Published: 2023-12-29

Abstract

Digitization has had a significant impact on live performance, specifically influencing the environments of representation and giving rise to new trends in performative language. Certain performances from the last fifteen years that have circulated in Europe are taken into consideration, experienced by audiences with various technological provisions (audio headphones, video conferencing, and 3D goggles) and outside traditional theater spaces. In light of certain theories about learning dynamics, a geo-relational approach is pursued to understand what potential formal evolutions could occur in the realm of performance with reference to the use of technologies, and in which cases the complexity of multisensory experience in traditional in-person theater has yet to be fully achieved.

References

Barfield W. e Zeltzer D. (1995). Presence and Performance Within Virtual Environments. In: W. Barfield, and T. A Furness III (eds). Virtual Environments and Advanced Interface Design (New York: Oxford Academic, online edn. 12 Nov. 2020).
Bateson G. (1972). Steps to an Ecology of Mind. Paladin Books (trad it: Verso un’ecologia della mente, Trad. di Giuseppe Longo e di Giuseppe Trautteur, Milano: Adelphi, 1977).
Bateson G. (1980). Mind and Nature - A Necessary Unity. Bantam Books (trad it: Mente e natura. Un’unità necessaria, Trad. di Giuseppe Longo, Milano: Adelphi, 1993).
Bolter J. D. & Grusin R. (1999). Remediation: Understanding New Media. Cambridge: MIT Press.
Jenkins H. (2004). The Cultural Logic of Media Convergence. International Journal of Cultural Studies, 7, 33.
Karl K. A., Peluchette J. V., & Aghakhani N. (2002). Virtual Work Meetings During the COVID-19 Pandemic: The Good, Bad, and Ugly. Small Group Research, 53(3): 343-365.
Kock N. (2005). Media Richness or Media Naturalness? The Evolution of Our Biological Communication Apparatus and Its Influence on Our Behavior Toward E-Communication Tools. Professional Communication, IEEE Transactions on. 48. 117-130.
Kuzminykh A., Rintel S. (2020). Classification of functional attention in video meetings [Conference session]. 2020 CHI Conference on Human Factors in Computing Systems, Honolulu, HI, United States, doi: 10.1145/3313831.3376546.
Machon J. (2013). Immersive Theatres (1st ed.). Palgrave McMillan.
Mercuriali S. (2013). Immersive Imaginations, intimate and (im)mediate. In: Machon J., Immersive Theatres (1st ed.). Palgrave McMillan.
McAuley G. (2000). Space in Performance: Making Meaning in the Theatre. The University of Michigan Press.
Monteverdi A.M. (2011). Nuovi media e nuovo teatro. Teorie e pratiche tra teatro e digitalità. Milano: FrancoAngeli.
Pedullà C. (2021). Il teatro partecipativo. Paradigmi ed esperienze. Focus su Roger Bernat_FFF e Rimini Protokoll. Titivillus.
Rogers A (2012). Geographies of the Performing Arts: Landscapes, Places and Cities. Geography Compass, 6.
Spilker H. S. & Colbjørnsen T. (2020). The dimensions of streaming: toward a typology of an evolving concept. Media, Culture & Society, 42(7-8): 1210-1225.
Standaert W., Muylle S. & Basu A. (2016). An empirical study of the effectiveness of telepresence as a business meeting mode. Inf Technol Manag, 17: 323-339.
Standaert W. & Muylle S. & Basu A. (2020). How shall we meet? Understanding the importance of meeting mode capabilities for different meeting objectives. Information & Management, 58: 1-14. Doi: 10.1016/j.im.2020.103393.
Straus S.G., & McGrath J.E. (1994). Does the medium matter? The interaction of task type and technology on group performance and member reactions. Journal of Applied Psychology, 79: 87-97.
Thrift N. (2008). Non-representational theory: space, politics, affect. Abingdon: Routledge.
Wright W. G. (2014).Using virtual reality to augment perception, enhance sensorimotor adaptation, and change our minds. Frontiers in Systems Neuroscience, 8, https://www.frontiersin.org/articles/10.3389/fnsys.2014.00056.

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Keywords

Performing Art
Natural Environment
Digital Theater
Geography
Virtual Environment

How to Cite

Francabandera, O. (2023). New technologies and geographies in performing art: A study on environments and relationships in some recent shows in Europe. Education Sciences & Society - Open Access, 14(2). https://doi.org/10.3280/ess2-2023oa16406

Copyright Notice

[1] Barfield W. e Zeltzer D. (1995). Presence and Performance Within Virtual Environments. In: W. Barfield, and T. A Furness III (eds). Virtual Environments and Advanced Interface Design (New York: Oxford Academic, online edn. 12 Nov. 2020).

[2] Bateson G. (1972). Steps to an Ecology of Mind. Paladin Books (trad it: Verso un’ecologia della mente, Trad. di Giuseppe Longo e di Giuseppe Trautteur, Milano: Adelphi, 1977).

[3] Bateson G. (1980). Mind and Nature - A Necessary Unity. Bantam Books (trad it: Mente e natura. Un’unità necessaria, Trad. di Giuseppe Longo, Milano: Adelphi, 1993).

[4] Bolter J. D. & Grusin R. (1999). Remediation: Understanding New Media. Cambridge: MIT Press.

[5] Jenkins H. (2004). The Cultural Logic of Media Convergence. International Journal of Cultural Studies, 7, 33.

[6] Karl K. A., Peluchette J. V., & Aghakhani N. (2002). Virtual Work Meetings During the COVID-19 Pandemic: The Good, Bad, and Ugly. Small Group Research, 53(3): 343-365.

[7] Kock N. (2005). Media Richness or Media Naturalness? The Evolution of Our Biological Communication Apparatus and Its Influence on Our Behavior Toward E-Communication Tools. Professional Communication, IEEE Transactions on. 48. 117-130.

[8] Kuzminykh A., Rintel S. (2020). Classification of functional attention in video meetings [Conference session]. 2020 CHI Conference on Human Factors in Computing Systems, Honolulu, HI, United States, doi: 10.1145/3313831.3376546.

[9] Machon J. (2013). Immersive Theatres (1st ed.). Palgrave McMillan.

[10] Mercuriali S. (2013). Immersive Imaginations, intimate and (im)mediate. In: Machon J., Immersive Theatres (1st ed.). Palgrave McMillan.

[11] McAuley G. (2000). Space in Performance: Making Meaning in the Theatre. The University of Michigan Press.

[12] Monteverdi A.M. (2011). Nuovi media e nuovo teatro. Teorie e pratiche tra teatro e digitalità. Milano: FrancoAngeli.

[13] Pedullà C. (2021). Il teatro partecipativo. Paradigmi ed esperienze. Focus su Roger Bernat_FFF e Rimini Protokoll. Titivillus.

[14] Rogers A (2012). Geographies of the Performing Arts: Landscapes, Places and Cities. Geography Compass, 6.

[15] Spilker H. S. & Colbjørnsen T. (2020). The dimensions of streaming: toward a typology of an evolving concept. Media, Culture & Society, 42(7-8): 1210-1225.

[16] Standaert W., Muylle S. & Basu A. (2016). An empirical study of the effectiveness of telepresence as a business meeting mode. Inf Technol Manag, 17: 323-339.

[17] Standaert W. & Muylle S. & Basu A. (2020). How shall we meet? Understanding the importance of meeting mode capabilities for different meeting objectives. Information & Management, 58: 1-14. Doi: 10.1016/j.im.2020.103393.

[18] Straus S.G., & McGrath J.E. (1994). Does the medium matter? The interaction of task type and technology on group performance and member reactions. Journal of Applied Psychology, 79: 87-97.

[19] Thrift N. (2008). Non-representational theory: space, politics, affect. Abingdon: Routledge.

[20] Wright W. G. (2014).Using virtual reality to augment perception, enhance sensorimotor adaptation, and change our minds. Frontiers in Systems Neuroscience, 8, https://www.frontiersin.org/articles/10.3389/fnsys.2014.00056.