Titlebook: Shakespeare and Digital Performance in Practice; Erin Sullivan Book 2022 The Editor(s) (if applicable) and The Author(s), under exclusive

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Shakespeare in Practicehttp://image.papertrans.cn/s/image/866187.jpg

Subdue

催眠藥

Astigmatism

Climate

Introduction,ealth Shakespeare Company and Google’s VR collaboration, . (2019). It argues that digitally intensive performances of Shakespeare allow actors and audiences to test what they believe theatre to be, as well as to reflect on what it means to be present—with a work of art, with others, and with oneself—in an increasingly online world.

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Being There,ed on physical togetherness. By arguing for a fluid rather than binary relationship between in-person and online states of being, it posits that there is no inherent contradiction in the idea of powerfully alive, digitized theatre, though the affordances and limitations of such work require further investigation.

腫塊

In Practice: Interviews with Two Practitioners,e COVID-19 pandemic. Wyver explores how the screen grammar of filmed theatre changes with delivery method, screen size, and dramatic genre, while Seaton discusses her interest in technology as a tool for interactive presence and surprise. Both address liveness as an experiential quality and the affective dimensions of digital performance.

flourish

, and interactivity work in digital performance.Surveys cult.Shakespeare and Digital Performance in Practice .explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of ar

禮節(jié)

Introduction,ok’s focus on digitized theatre broadcasts, intermedial stage work, and born-digital adaptations, exploring an example of . from each category: the broadcast of the stage production starring Benedict Cumberbatch (2015); Annie Dorsen’s avant-garde, ‘a(chǎn)lgorithmic’ reimagining, . (2013); and the Commonw

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