Titlebook: Digital Theatre; The Making and Meani Nadja Masura Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Computer-generated.Audien

eternal

書(shū)目名稱Digital Theatre影響因子(影響力)




書(shū)目名稱Digital Theatre影響因子(影響力)學(xué)科排名




書(shū)目名稱Digital Theatre網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱Digital Theatre網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱Digital Theatre被引頻次




書(shū)目名稱Digital Theatre被引頻次學(xué)科排名




書(shū)目名稱Digital Theatre年度引用




書(shū)目名稱Digital Theatre年度引用學(xué)科排名




書(shū)目名稱Digital Theatre讀者反饋




書(shū)目名稱Digital Theatre讀者反饋學(xué)科排名

爭(zhēng)吵加

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.

下船

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

CT-angiography

BOLT

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

incite

incite

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

invade

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

Countermand

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

Panther