Digital Performance and Its Discontents (or, Problems of Presence in Pandemic Performance)
Bibliographic Data
| ID | 21517070 |
|---|---|
| Authors | Sarah Bay-Cheng (0000-0003-1789-164X, corresponding author) |
| Year | 2023 |
| Volume | 48 |
| Issue | 1 |
| Pages | 9-23 |
| Publication date | 2023-03-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Theatre Research International (JOURNAL) |
| Journal identifiers | ISSN: 0307-8833 • E-ISSN: 1474-0672 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1017/s0307883322000372 |
| OpenAlex | W4319746342 |
| Language | EN |
| Citations received | 6 |
| References cited | 4 |
For at least thirty years, scholars have debated the centrality of physical and embodied presence as essential to the experience of theatre and performance. A debate that was perhaps largely academic suddenly became a shared reality when COVID-19 shuttered live venues, closed universities and moved artists of all kinds online. Suddenly, much of the theatre world began acting for the (web)camera. This article considers the changing attitudes toward notions of theatrical presence before and throughout the pandemic and what these changes might mean for the future of live arts. In particular, it posits the intersection of theatre, film and media history as key to understanding digitally enhanced contemporary experiences and expectations of post-pandemic performances
Aesthetics · Art · Centrality · Embodied cognition · Epistemology · Media studies · Pandemic · Performing arts · Sociology · The arts · Visual arts · Computer Science · History · Medicine · Theatre and Performance Studies
| Unique citing works | 6 |
|---|---|
| Citations per year | 2 |
| Citation span | 2023 - 2026 (4) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 6 |