標(biāo)題: Titlebook: Digital Theatre; The Making and Meani Nadja Masura Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Computer-generated.Audien [打印本頁] 作者: eternal 時(shí)間: 2025-3-21 17:34
書目名稱Digital Theatre影響因子(影響力)
書目名稱Digital Theatre影響因子(影響力)學(xué)科排名
書目名稱Digital Theatre網(wǎng)絡(luò)公開度
書目名稱Digital Theatre網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Digital Theatre被引頻次
書目名稱Digital Theatre被引頻次學(xué)科排名
書目名稱Digital Theatre年度引用
書目名稱Digital Theatre年度引用學(xué)科排名
書目名稱Digital Theatre讀者反饋
書目名稱Digital Theatre讀者反饋學(xué)科排名
作者: 爭吵加 時(shí)間: 2025-3-21 20:41
Ajita Rattani,Reza Derakhshani,Arun Rossl. This chapter focuses on the creation of imaged place and discusses how scenography is altered and made plastic by digital technology. This chapter features the fluid scenography via the 3-D animated projectionist sets of Mark Reaney (. and .); .-.; and . by the Builder’s Association.作者: 下船 時(shí)間: 2025-3-22 01:59
Introduction: Whose Selfie Citizenship?rtability will be covered in the discussion of Studio Z. The idea of transformation will be explored in works by England’s site-specific devisors the Talking Birds (.), as well as George Coates’ ., the 2006 staging of the ., and the author’s own work . which experimented with opening up the theatric作者: CT-angiography 時(shí)間: 2025-3-22 07:29 作者: BOLT 時(shí)間: 2025-3-22 12:28
Inject/ed: Self(ie) Determination of actor and stage technician into one. We look at works by Troika Ranch including . and . (utilizing MidiDancer), and . by the Flying Karamozov Brothers (with wearable computers tracking movements), the University of Georgia’s . (where the body of the actor controls the animated scenery), and Mark作者: incite 時(shí)間: 2025-3-22 13:00 作者: incite 時(shí)間: 2025-3-22 19:00
Literary Systems as Self-Organizing Systemsd audiences through my work with the online collaborative community, the Art Grid, and four years of ., in which we shared authorship and created a multiplicity of audiences and audience experiences. Then we will examine the prospect of digital dramaturgy through my work coordinating the Digital Per作者: invade 時(shí)間: 2025-3-22 21:18
Literary Systems as Self-Organizing Systemsre becoming ever more accustomed to performativity, interactivity, and becoming a part of the show through their words and actions. No more is the director, author, or dramaturg a singular voice of authority; now the audience wants in on the act. We will investigate the multiplicities of authorship 作者: Countermand 時(shí)間: 2025-3-23 04:54
https://doi.org/10.1007/978-3-642-71004-9etween the actor’s body and theatre place. Terms like neo-Bakhtinian, differance, and image-body are used to unpack the various levels the performing human body mixing with technology to the point where the two meet and agency is reversed. Examples include: motion capture in University of Georgia’s 作者: Panther 時(shí)間: 2025-3-23 06:11 作者: 哺乳動(dòng)物 時(shí)間: 2025-3-23 13:15
Till D. Frank,Dobromir G. Dotovfollows talking backstage at .. with director/dramaturg Marianne Weems, visual dramaturg/designer James Gibbs, assistant director Sarah Krohn, and actor/writer/dramaturg Moe Collins. It draws a picture of the group’s understanding about their collective process, the art of dramaturgy and integrating作者: Seizure 時(shí)間: 2025-3-23 17:51 作者: helper-T-cells 時(shí)間: 2025-3-23 21:51 作者: GULLY 時(shí)間: 2025-3-24 00:55
Palgrave Studies in Performance and Technologyhttp://image.papertrans.cn/d/image/279782.jpg作者: senile-dementia 時(shí)間: 2025-3-24 02:44
https://doi.org/10.1007/978-3-030-55628-0Computer-generated; Audience; Collaboration; Hybrid; Production; Multimedia; Dramaturgy; Space; Scenography; 作者: lacrimal-gland 時(shí)間: 2025-3-24 09:16
978-3-030-55630-3The Editor(s) (if applicable) and The Author(s) 2020作者: 游行 時(shí)間: 2025-3-24 14:20 作者: Hiatus 時(shí)間: 2025-3-24 17:12 作者: 消毒 時(shí)間: 2025-3-24 21:31
Scenographyl. This chapter focuses on the creation of imaged place and discusses how scenography is altered and made plastic by digital technology. This chapter features the fluid scenography via the 3-D animated projectionist sets of Mark Reaney (. and .); .-.; and . by the Builder’s Association.作者: 方便 時(shí)間: 2025-3-25 00:02 作者: shrill 時(shí)間: 2025-3-25 03:54 作者: 膽汁 時(shí)間: 2025-3-25 09:19 作者: faucet 時(shí)間: 2025-3-25 12:22
Ajita Rattani,Reza Derakhshani,Arun Rossth digital and theatre in terms of copresence, limited interactivity, verbal communication, and being digitally enabled, thus making it a subset of the types of works found in the broader Digital Performance Archive (DPA).作者: Anhydrous 時(shí)間: 2025-3-25 18:32
Introduction: Whose Selfie Citizenship?al space to dispersed outdoor environments. Also discussed are other distance collaborations such as . which featured three separate university theatre departments in one show. Intelligent Theatre spaces as seen at ASU, in David Saltz’s ., and the Digital Performance Group’s collaborative work ..作者: 浪費(fèi)時(shí)間 時(shí)間: 2025-3-25 23:57 作者: 機(jī)密 時(shí)間: 2025-3-26 01:54 作者: 真繁榮 時(shí)間: 2025-3-26 06:09 作者: Gastric 時(shí)間: 2025-3-26 10:34 作者: Abrupt 時(shí)間: 2025-3-26 13:53
2947-5848 t to try to tell stories using the technology available to uDigital Theatre is a rich and varied art form evolving between performing bodies gathered together in shared space and the ever-expanding flexible reach of the digital technology that shapes our world. This book explores live theatre perfor作者: 不如屎殼郎 時(shí)間: 2025-3-26 17:54
Inject/ed: Self(ie) Determinationhers (with wearable computers tracking movements), the University of Georgia’s . (where the body of the actor controls the animated scenery), and Mark Reaney’s . (which allows the actor’s voice to create the visual scenery).作者: 祖?zhèn)?nbsp; 時(shí)間: 2025-3-26 21:00
Literary Systems as Self-Organizing Systemsector, author, or dramaturg a singular voice of authority; now the audience wants in on the act. We will investigate the multiplicities of authorship in George Coates’ . and the University of Georgia’s .. Similar works discussed include the intensely participatory ., and . which include audience-provided production elements.作者: cataract 時(shí)間: 2025-3-27 02:17
https://doi.org/10.1007/978-3-642-71004-9human body mixing with technology to the point where the two meet and agency is reversed. Examples include: motion capture in University of Georgia’s ., Troika Ranch’s MIDI Dancer in . and ., Intelligent Stages, synesthesia in the University of Kansas’ ., Paulo Henrique’s ., ., and . by Stelarc.作者: Leaven 時(shí)間: 2025-3-27 07:09 作者: 帽子 時(shí)間: 2025-3-27 12:48
Sociology of the Sciences Yearbookes by Yacov Sharir, Mark Reaney’s ., which allowed actors to portray nonhuman shapes and . by Susan Broadhurst, which involved the use of an artificial intelligence (or A.I.) as a character and the mechanical players used in ., as well as Lance Gharavi’s 2013 work 作者: d-limonene 時(shí)間: 2025-3-27 13:44
Costuminges of live performers. The performers’ bodies became canvases for elements including set, props, and other characters. This chapter will also look at projectionist masks, and Gertrude Stein Repertory Theatre’s layered actor’s bodies in ..作者: 可用 時(shí)間: 2025-3-27 21:45
The ‘Other’ Actores by Yacov Sharir, Mark Reaney’s ., which allowed actors to portray nonhuman shapes and . by Susan Broadhurst, which involved the use of an artificial intelligence (or A.I.) as a character and the mechanical players used in ., as well as Lance Gharavi’s 2013 work 作者: Alienated 時(shí)間: 2025-3-27 23:17
Book 2020ch of the digital technology that shapes our world. This book explores live theatre performances which incorporate video projection, animation, motion capture and triggering, telematics and multisite performance, robotics, VR, and AR. Through examples from practitioners like George Coates, the Gertr作者: aneurysm 時(shí)間: 2025-3-28 03:07
Introduction,th digital and theatre in terms of copresence, limited interactivity, verbal communication, and being digitally enabled, thus making it a subset of the types of works found in the broader Digital Performance Archive (DPA).作者: 大猩猩 時(shí)間: 2025-3-28 06:55
The Theater Building/Placeal space to dispersed outdoor environments. Also discussed are other distance collaborations such as . which featured three separate university theatre departments in one show. Intelligent Theatre spaces as seen at ASU, in David Saltz’s ., and the Digital Performance Group’s collaborative work ..作者: obscurity 時(shí)間: 2025-3-28 13:37
Director/Dramaturg (Creative Authority)formance Group as a collaborative act of interdisciplinary exploration. This process included composing and collecting materials via digital technology, scripting ., conceptualizing, visual assets, and much more. This chapter includes my devised piece, .-..作者: 很是迷惑 時(shí)間: 2025-3-28 18:16 作者: 樹上結(jié)蜜糖 時(shí)間: 2025-3-28 19:26 作者: faculty 時(shí)間: 2025-3-28 23:34 作者: Living-Will 時(shí)間: 2025-3-29 05:57 作者: Dignant 時(shí)間: 2025-3-29 10:07
2947-5848 and expressive needs of today’s artists and audiences. It also examines how theatre roles such as director, actor, playwright, costumes, and set are altered, and how ideas of body, place, and community are expanded.?.978-3-030-55630-3978-3-030-55628-0Series ISSN 2947-5848 Series E-ISSN 2947-5856 作者: GUILT 時(shí)間: 2025-3-29 11:54 作者: 呼吸 時(shí)間: 2025-3-29 15:45
Scenographyl. This chapter focuses on the creation of imaged place and discusses how scenography is altered and made plastic by digital technology. This chapter features the fluid scenography via the 3-D animated projectionist sets of Mark Reaney (. and .); .-.; and . by the Builder’s Association.
