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Gallagher-Ross, J., Felton-Dansky, M.
Virtual Theater for Beginners
Todorut, I. T.
Theater and Media before "New" Media: Beckett's Film and Play
Harries looks back at Samuel Beckett’s complex intermedial experiments to historicize the question of theater’s relationship to "new" media, and argue for a more nuanced theorization of theater’s exchanges with other media, and theater’s status as a medium in itself.
Theater Is Media: Some Principles for a Digital Historiography of Performance
In her essay-manifesto, Sarah Bay-Cheng outlines principles for a new historiography of performance taking into account the multiple layers of mediation that surround any experience of live art in the twenty-first century.
140 Characters in Search of a Theater: Twitter Plays
Muse, J. H.
This article surveys the new forms of drama, performance, and spectatorship created by artists making use of the real-time microblogging website Twitter—as either a forum for performance in itself, or way to extend the boundaries of a more conventionally theatrical performance. He goes on to describe the ways in which social media "are making playwrights, performers, and spectators of us all."
Gesamtkunstwerk and Glitch: Robert Lepage's Ring across Media
Smith, M. W.
Smith considers Robert Lepage’s recent high-tech production of Wagner’s Ring cycle at New York’s Metropolitan Opera, as a digital-age extension of the modernist aspiration—incited by Wagner—to create the total work of art.
" Would You Like to Have a Question?"
Dorsen, A., Soloski, A.
Hello Hi There (Excerpt)
The New Old Rush: Berlin's Bonanza
Nick Salvato examines the collision between "old" and "new" media staged by the actorless performance piece Bonanza, produced by German multimedia collective Berlin.
Viral Performance: Contagious Hoaxes in the Digital Public Sphere
Felton-Dansky proposes a new category of performance called "viral performance," in which artists use new media and technology to stage politically provocative public hoaxes. These artists disseminate tantalizing fictions, then reveal the truths beneath them, as a strategy for "inoculating" the public against paranoia.
Refined Mechanicals; or, How I Learned to Stop Worrying and Share the Stage: New Scholarship on Theater and Media
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Miriam Felton-Dansky and Jacob Gallagher-Ross are DFA candidates in the Department of Dramaturgy and Dramatic Criticism at the Yale School of Drama.
Contributors: Sarah Bay-Cheng, Annie Dorsen, Miriam Felton-Dansky, Jacob Gallagher-Ross, Christopher Grobe, Martin Harries, John H. Muse, Nick Salvato, Matthew Wilson Smith, and Alexis Soloski
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