614:, and some of the most noted performance artists of this time were creating work by incorporating video and film footage into their theatre productions. By the 1990s multimedia and computer technologies had widely become a part of everyday life. In live multimedia theatre: the projection screens or video monitor frame additional space, in two dimensions. Media screens are able to provide a uniquely flexible space, unlike the fixed point of view in which a traditional theatre provides to the members of the audience. Moving towards the end of the twentieth century digital computer technologies have become increasingly more ubiquitous.
531:
is vastly becoming a significant tool and agent of performative action and creation. Computer technologies can be contextualised as being of a social, cultural and artistic change. Computers do now permit for the artistic modes of expression and for the new generic forms of networking and interactive performance. Theatre itself has always been right at the cutting edge of technology and it has been quick on the mark to be able to recognise, and to take full advantage of the dramatic and aesthetic potentials that these new and existing technologies have to offer. Theatre, dance and
574:. Fuller was the first modern dance choreographer to try out and to use new technology within her performance work. In 1911, Fuller, a dancer, conducted an experiment where she used film footage and projected it onto diaphanous robes. In the performance, as Fuller danced the robes in which she was wearing became a sort of âscreenâ where multi â coloured lights were projected upon it. This was one of the first pieces of theatre where film footage was integrated into becoming a part of a live theatre performance.
271:
562:âs Zulu Time (1999). Although, it can be said that the avant â garde movement Futurism does have a more philosophical basis for contemporary digital performance, more so than any of the other avant â garde movements such as the likes of Bauhaus, Dada and Surrealism which are mainly used to provide inspiration for a large part of the content and styles for the artistic expression. Looking back at the early twentieth century avant â garde, there were many works that would use pre â digital technologies.
570:. With the increased usage of digital media in a performance, not all performances are necessarily live; without the body's physical presence it could be argued whether this is this still live theatre or just a set of media images and footage. Theatre pieces which have integrated digital media and computer-generated projections built into performances have a long historical lineage that stretches back to over a hundred years ago to an experiment that was conducted by
407:. Looking at a broad range of diverse productions would have enhanced their research project as they saw how each type of performance was affected and even how new types of performance came about due to the involvement of computer technologies and techniques and all other multimedia sources. In the 20th century, emerging forms of drama and genres of performance reflected the active and escalating role of computer technology in society, with businesses and
176:
22:
121:
63:
585:(1961) viewers witnessed one of filmsâ first ever uses of computer transformations. Although digital arts had been developing since the 1960s, in the 1990s computer technologies had become much more accessible to artists which then led to a large increase in the digital performance activity. It was during this time that computer
535:
have always been known to be a form of multimedia; and right at the very core of the theatre through all the manifestations right to the contemporary experimentation, as well as incorporating all of the visual elements into a production; at the foreground to any piece there is the human voice and the
530:
installation pieces that can take place either on the internet or can be played on a CD â ROM. âComputers are arenas for social experience and dramatic interaction, a type of media more like public theatre, and their output is used for qualitative interaction, dialogue and conversation.â The computer
650:
Communication through the
Internet has been classed as a type of digital performance as it has been theorized as a type of virtual performance of the self. As this is so, people have already stated digital performance as being everywhere, which has led to digital performance being modernized itself.
626:
Video conferencing is also a part of digital performance, some theatre companies (such as âThe
Gertrude Stein Repertory Theatreâ and âKunstwerk-Blendâ) introduced this into their productions to bring different performers from different locations together live on stage to create a lively new brand of
557:
and many more. It could be said that digital performance can be linked to the aesthetics, philosophies and practices of the futurist movement. One of the main links that has been found which can connect futurism to digital performance was with the use of the âmachineâ which was used in the set of
544:
during the 1910s, mixed media performance during the 1960s and experimentation with a performance and the computer during the 1990s. Both during the eras of
Futurism and the experimentation with computer incorporated within performance, they are both greatly inspired by the development of new and
617:
As digital media has now become more and more popular over the years, the perception of digital images and videos now are now lacking in legitimacy as these technologies have gradually intensified over the past few years. Digital performance is an expansion of a constantly progressing history of
662:
for a start. All three of the above are involved with visual aspects such as sets, props, lighting and costume which are all a part of the production to enhance the body/bodies in a space. Using such aspects makes the performance become multimedia and that is becoming more advanced with the new
565:
One of the earliest examples of when theatre and film were being integrated together in a performance, with the use of digital technology was to try to challenge the distinction between what is âlivenessâ as in the live performer on the stage and the media imagery, it is about the relationship
635:
and webcasts. They all created new forms to come under the live and interactive performance area. With the ongoing increase of internet users and with more and more people are made accessible to these software's therefore more and more artists are experimenting and devising performances using
487:
Performers and devisers of digital performance productions have to approach the aspects of technology in diverse ways to be able to reach different meanings, content, drama, the impact of visuals and the audience-performer relationship. The computer is seen as the middleman, who fixes lasting
525:
now has a new and much more dramatic role to play in live theatre, dance and performance; and while digital media performances are now beginning to proliferate there are now many new forms of interactive performance genres that have emerged. These new genres are most commonly in the style of
601:â. During the period of the âDigital Revolutionâ there was a great influence on the aesthetics, creation and culture of the performance arts; this had a significant effect on the process for film and television production to the creative writing and the visual and performance arts.
500:
can usually be defined to consist of all types of performance in which computer technologies have taken on the main role rather than an auxiliary one in the content, techniques, aesthetics or the delivery forms. Digital performance will usually explore the representations of the
609:
technologies more and more artists began to play around with the possibilities of integrating visual media within their live performance work. The use of media technology including the likes of film, video and sound equipment became some of the main characteristics for the
604:
From 1970 there was a period of time of when theatrical experimentation elevated the visual over the verbal; there was a proliferation in the use of media projections in theatre, dance and performance art, using both screens and video monitors. With the ease of using these
364:
classifies the production as multimedia. When the key role in a performance is the technologies, it is considered a digital performance. This can be as simple as making projections on a screen for a live audience or as complex as planning and putting on a show online.
516:
Over the past decade or so we have witnessed a very vast and incredible development within every aspect of the technological world. As a result of this, there has been a large increase in the experimentation with computer technologies being integrated within the
461:
is creating their own performance with the use of e-friendships. Therefore it is not just the artists who deliberately devise theatrical events via the use of computer techniques and technologies. However, the focus of this article is on artistic performance.
545:
existing technology. Researching back, digital performance practices have experimented with numerous of the different avant â garde movements which can date right back from the early twentieth century, some of these movements can include the likes of
433:
have followed each other's works and explored trends. Technology has its own trends and upgrades, which appeal to artists in the field. Online environments are a strong base for theoretical trends as the frameworks are similar and sometimes the same.
618:
which embracing the adaptation of these new and already existing technologies, in which to amplify a performance and the visual art aesthetic effect, and to create the sense of a spectacle as well as capturing the emotional and the sensorial impact.
521:; and with the new technological creations and the developments of existing digital technologies they are also beginning to create a greater, more significant impact on the way in which different art forms are being practiced.
539:
Locating the roots of digital performance practices can be traced back for many decades or even centuries. There are three main periods that can be highlighted in the history of multi - media performance:
411:
treating computers as essential. As our society became more reliant on computers in everyday life, artists began relying on computer technology to play a significant role in film as well as live theatre.
465:
The field of
Digital Performance generates a wide variety of visual and stylistic aspects. Computers allow the artists or companies to create extraordinary and unique experiences, such as
484:
also upgrades with the latest technologies, students who are 'digital natives' make use of technology and find it effective in connecting with a broad cross-section of audiences.
445:
is seen as a satisfying place for relaxation and offers everyone who uses the
Internet their âfifteen megabytes of fame.' Every single person who uses online networking sites,
426:
raised the level of interactive potential of computers. Their accessibility and sophistication added those very aspects to performances that used advanced technology.
658:
Some strands of performing have always been seen as multimedia forms such as theatre, dance and performance art. Dance involves an intimate relationship with
848:
639:
Another case of what is under the title of digital performance is dance productions, using software and computer techniques such as advanced animation and
810:
186:
643:. Productions can project images of virtual dancers made on to the stage. Software that is highly involved with digital performance is custom-made
340:
refers to the use of computers as an interface between a creator, consumer of images, and sounds in a wide range of artistic applications. It is
771:
73:
35:
480:
stimulating, thought-provoking and complementary.âPerformance is undertaking a shift in the conception of technologyâ. As the educational
139:
131:
84:
884:
Stone, Allucquere. "The war of desire and technology at the close of the mechanical age", MIT Press, Cambridge, 1996. Retrieved 25/10/11.
324:
306:
157:
102:
49:
785:
597:) and the establishment of the World Wide Web. It was during this period of time which would then go on to be known as being the â
244:
216:
828:
201:
666:
With the effects on the ongoing Covid 19 pandemic, artists have been experimenting with online/digital theatre, for example
223:
627:
digital performance. The
Internet is used as a base for these productions with text-based online environments such as
279:
230:
663:
techniques that computers are upgrading to therefore making digital performance a strong and popular area to study.
845:
868:
212:
41:
910:
636:
computer technologies which them branches out and raises the number of digital performances and productions.
578:
577:
From the early 1960s, computer-generated imagery had then begun to emerge as a distinctive art form, and in
697:
527:
933:
77:
that states a
Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.
488:
problems rather than creating original and new performance processes and hype, in digital performance.
938:
611:
387:
The
Digital Performance Archive stores a physical and catalogued archives from the 20th century. Its
377:. Incorporating multimedia in productions surprises the audience and keeps them engaged. The larger
285:
392:
373:
The integration of technology can increase the effects, spectacles and impact of performances and
628:
598:
502:
237:
804:
767:
594:
586:
943:
423:
388:
381:
789:
647:; this software can be used to control images, avatars, sounds and lighting live on stage.
589:
was built to become much more âuser â friendlyâ and we then witnessed the invention of the
914:
852:
832:
692:
532:
518:
466:
357:
644:
640:
590:
438:
927:
872:
567:
559:
522:
825:
687:
652:
571:
374:
361:
341:
193:
175:
846:
http://asumag.com/Construction/technology/technology_push_university_president/
554:
481:
473:
419:
400:
384:
after the performance includes interpretations from diverse groups of people.
349:
450:
408:
865:
675:
671:
541:
442:
345:
546:
510:
404:
353:
655:
in everyday life through the communicational and production elements.
632:
430:
415:
378:
864:
Digital
Performance Institute. "Definging Digital Performance", <
566:
between the virtual and the actual performance being the dialogical
907:
659:
606:
506:
396:
550:
446:
477:
458:
454:
291:
You can help by providing page numbers for existing citations.
264:
169:
114:
56:
15:
894:
74:
personal reflection, personal essay, or argumentative essay
783:
348:
technologies and techniques. Performers can incorporate
844:
American School and University. "Technology Push", <
670:(2021) featuring works from directors across the world
197:
80:
437:
The largest platform for theatre in the world is the
352:
into any type of production whether it is live on a
651:It has been noted as incorporating the elements of
429:From the first digital performance to present day,
893:The Gertrude Stein Repertory Theatre. "GSRT", <
826:http://www.infotechtrends.com/marketresearch.htm
356:stage, or in the street. Anything as small as
8:
202:introducing citations to additional sources
50:Learn how and when to remove these messages
391:involved the increase and creative use of
325:Learn how and when to remove this message
307:Learn how and when to remove this message
158:Learn how and when to remove this message
103:Learn how and when to remove this message
866:http://www.digitalperformance.org/node/1
824:InfoTech Trends. "Market Research", <
758:
756:
754:
752:
750:
748:
746:
744:
742:
740:
738:
736:
734:
192:Relevant discussion may be found on the
732:
730:
728:
726:
724:
722:
720:
718:
716:
714:
710:
472:Many consider the relationship between
809:: CS1 maint: archived copy as title (
802:
395:, techniques within live theatre and
7:
906:Lycouris, S. "Kunstwerk-Blend", <
130:tone or style may not reflect the
14:
917:>, 1997, Retrieved 24/10/2011.
897:>, 2005, Retrieved 24/10.2011.
855:>, 2008, Retrieved 25/10/2011.
835:>, 1997, Retrieved 25/10.2011.
815:>, 2003, Retrieved 21/10/2011.
344:that incorporates and integrates
31:This article has multiple issues.
908:http://www.ad406.dial.pipex.com/
269:
185:relies largely or entirely on a
174:
140:guide to writing better articles
119:
61:
20:
875:>, 2003, Retrieved 25/10/11.
631:and MOOs as well as the use of
39:or discuss these issues on the
1:
960:
895:http://www.gertstein.org/
766:. Cambridge: MIT Press.
403:interactive dramas and
278:This article cites its
134:used on Knowledge (XXG)
698:Theatre of Digital Art
528:audience participatory
138:See Knowledge (XXG)'s
83:by rewriting it in an
762:Dixon, Steve (2007).
213:"Digital performance"
612:experimental theatre
198:improve this article
764:Digital Performance
622:Production examples
593:and the home PC's (
498:digital performance
393:computer technology
338:Digital Performance
913:2012-04-25 at the
851:2010-02-03 at the
831:2011-11-23 at the
700:(ToDA), Duabi, UAE
599:Digital Revolution
85:encyclopedic style
72:is written like a
772:978-0-262-04235-2
595:Personal Computer
467:virtual realities
335:
334:
327:
317:
316:
309:
284:does not provide
263:
262:
248:
168:
167:
160:
132:encyclopedic tone
113:
112:
105:
54:
951:
918:
904:
898:
891:
885:
882:
876:
862:
856:
842:
836:
822:
816:
814:
808:
800:
798:
797:
788:. Archived from
781:
775:
760:
668:The Coronalogues
641:motion capturing
399:productions and
389:research project
358:video recordings
330:
323:
312:
305:
301:
298:
292:
273:
272:
265:
258:
255:
249:
247:
206:
178:
170:
163:
156:
152:
149:
143:
142:for suggestions.
123:
122:
115:
108:
101:
97:
94:
88:
65:
64:
57:
46:
24:
23:
16:
959:
958:
954:
953:
952:
950:
949:
948:
924:
923:
922:
921:
915:Wayback Machine
905:
901:
892:
888:
883:
879:
863:
859:
853:Wayback Machine
843:
839:
833:Wayback Machine
823:
819:
801:
795:
793:
786:"Archived copy"
784:
782:
778:
761:
712:
707:
693:Digital theatre
684:
624:
533:performance art
519:performing arts
494:
371:
331:
320:
319:
318:
313:
302:
296:
293:
290:
286:page references
274:
270:
259:
253:
250:
207:
205:
191:
179:
164:
153:
147:
144:
137:
128:This article's
124:
120:
109:
98:
92:
89:
81:help improve it
78:
66:
62:
25:
21:
12:
11:
5:
957:
955:
947:
946:
941:
936:
926:
925:
920:
919:
899:
886:
877:
871:2012-07-31 at
857:
837:
817:
776:
709:
708:
706:
703:
702:
701:
695:
690:
683:
680:
645:motion sensing
623:
620:
591:digital camera
579:John Whitney's
493:
490:
439:World Wide Web
370:
367:
333:
332:
315:
314:
277:
275:
268:
261:
260:
196:. Please help
182:
180:
173:
166:
165:
127:
125:
118:
111:
110:
69:
67:
60:
55:
29:
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
956:
945:
942:
940:
937:
935:
932:
931:
929:
916:
912:
909:
903:
900:
896:
890:
887:
881:
878:
874:
873:archive.today
870:
867:
861:
858:
854:
850:
847:
841:
838:
834:
830:
827:
821:
818:
812:
806:
792:on 2007-11-23
791:
787:
780:
777:
773:
769:
765:
759:
757:
755:
753:
751:
749:
747:
745:
743:
741:
739:
737:
735:
733:
731:
729:
727:
725:
723:
721:
719:
717:
715:
711:
704:
699:
696:
694:
691:
689:
686:
685:
681:
679:
677:
673:
669:
664:
661:
656:
654:
648:
646:
642:
637:
634:
630:
621:
619:
615:
613:
608:
602:
600:
596:
592:
588:
584:
580:
575:
573:
569:
568:interactivity
563:
561:
560:Robert Lepage
556:
552:
548:
543:
537:
536:spoken text.
534:
529:
524:
523:Digital media
520:
514:
512:
508:
504:
499:
491:
489:
485:
483:
479:
475:
470:
468:
463:
460:
456:
452:
448:
444:
440:
435:
432:
427:
425:
424:installations
421:
417:
413:
410:
406:
402:
398:
394:
390:
385:
383:
380:
376:
368:
366:
363:
359:
355:
351:
347:
343:
339:
329:
326:
311:
308:
300:
288:
287:
281:
276:
267:
266:
257:
254:November 2011
246:
243:
239:
236:
232:
229:
225:
222:
218:
215: â
214:
210:
209:Find sources:
203:
199:
195:
189:
188:
187:single source
183:This article
181:
177:
172:
171:
162:
159:
151:
148:November 2011
141:
135:
133:
126:
117:
116:
107:
104:
96:
93:November 2011
86:
82:
76:
75:
70:This article
68:
59:
58:
53:
51:
44:
43:
38:
37:
32:
27:
18:
17:
934:Internet art
902:
889:
880:
860:
840:
820:
794:. Retrieved
790:the original
779:
763:
667:
665:
657:
649:
638:
625:
616:
603:
582:
576:
564:
538:
515:
497:
495:
486:
471:
464:
436:
428:
414:
386:
372:
369:Introduction
362:visual image
337:
336:
321:
303:
297:October 2017
294:
283:
251:
241:
234:
227:
220:
208:
184:
154:
145:
129:
99:
90:
71:
47:
40:
34:
33:Please help
30:
939:Digital art
688:Digital art
653:electronics
572:Loie Fuller
420:video games
375:visual arts
342:performance
928:Categories
796:2007-05-16
705:References
555:Surrealism
503:subliminal
482:curriculum
474:technology
451:chat rooms
401:cyberspace
350:multimedia
224:newspapers
36:improve it
496:The term
409:education
194:talk page
42:talk page
911:Archived
869:Archived
849:Archived
829:Archived
805:cite web
682:See also
676:Dick Lee
672:Ken Kwek
587:hardware
542:Futurism
513:worlds.
443:Internet
405:webcasts
346:computer
944:Theatre
633:webcams
583:Catalog
547:Bauhaus
511:fantasy
492:History
431:artists
416:CD-ROMs
354:theatre
280:sources
238:scholar
79:Please
770:
509:, and
507:dreams
441:. The
382:impact
379:social
240:
233:
226:
219:
211:
660:music
607:video
581:film
447:blogs
397:dance
360:or a
245:JSTOR
231:books
811:link
768:ISBN
674:and
629:MUDs
551:Dada
476:and
457:and
455:MOOs
422:and
282:but
217:news
478:art
459:IRC
200:by
930::
807:}}
803:{{
713:^
678:.
553:,
549:,
505:,
469:.
453:,
449:,
418:,
45:.
813:)
799:.
774:.
328:)
322:(
310:)
304:(
299:)
295:(
289:.
256:)
252:(
242:¡
235:¡
228:¡
221:¡
204:.
190:.
161:)
155:(
150:)
146:(
136:.
106:)
100:(
95:)
91:(
87:.
52:)
48:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.