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

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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.

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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.

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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

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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 ..

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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

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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

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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).

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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 ..

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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, .-..