February January We discuss the simlarities between cyberformance, Commedia Francais and Commedia del'Arte: minimalism and two-dimensionality; masked performance; stock characters; improvisation; slapstick humour; focus and gesture to convey emotion; symbolic use of props; and the differences, such as brevity and verbosity. See Mika Tuomola's article "Drama in the Digital Domain". "Just read the log from wednesday's rehearsal.
Frst time I've read a log all the way through and the sheer complexity
of it is astonishing: the overlapping and competing conversations, inner
monologues, confusions, information dispersal, movements between fictions,
fluid identities, improvisational tag games, wordplay, stock characterisations,
overt playful sexualities, and all this while we are typing, reading,
listening and watching, plus interacting in our meatspaces with one or
more people or even pretending to be working at something else.
And yes, I think someone actually went for a crap. Rather than see
palace performance work as 'not really theatre' (re:Odin theatre audience
response), maybe its actually a more highly evolved form of theatre practise."
Karla, 11 Jan. December November Recently we were introduced to one of Leena's bots, Cupid. The bot spouts preprogrammed text in response to trigger words. Our minds are zinging with the potential of bots in performance - but what are the limits? Could all we cyberformers be replaced by bots? A presentation in Brisbane went well, with the help of Vicki and Jack online. The participants were excited and inspired. October September In the wake of the September 11 attacks, we become Women In Black, silently sliding across Palace rooms. The initial response is subdued - most of the palatians are Americans (USA). Some still think we are wierd. Philip Auslander's notion of "liveness", Janet Murray's ommissions, Peggy Phelan's assertion that the ontology of performance lies in the live event, Brian Eno's pondering on media as a source of emotional meaning and intimacy ... thoughts on the blurry borders between cyber and live performance. Who is the star of the performance - the actor, the participant, the technician, the director/auteur - or the avatar? Will technology make the performer a stage hand for the performance, like the black servants in Japanese Noh Theater or Black Theater of puppets of Praga. Technology as a binding energy between the performer and the cyberperformer or the cyber world ... the computer can transform the actor into a cartoon and back. August |
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