Dusk: Adaption and Perception in Interactive Theatre

Theatre Topics, 2001

Designing Interactive Systems Conference 2021, 2021

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2017

This article is a brief, individual review which illustrates some advances that digital technology can foster for theatre. Whether this can be seen as an encroachment or augmentation in this field, there are clear examples of significant opportunities for practitioners who follow the digital route as a means to increase theatrical participation. Concurrent to this, this article will demonstrate the validity of using the principles of game design to consider the potentials offered by digital theatre and indicate possible avenues for future research.

There are many acknowledgements that I feel I should make, to my tutors, especially Meryl and Emma, for putting up with me, J.C. for not deciding that I was completely incapable and giving up on me, and to the rest of the Drama group, for working with me.

Digital Creativity, 1999

The computer has already become an essential tool both in the professional theatre and in the academic world. This paper gives an overview of the ways in which technology can influence theatre and theatre research practices, dealing both with those technologies which are currently in use and those which the future might hold. The fundamental conclusion is that any move towards reducing the spontaneity of what takes place on stage and the sense of community which takes place in the theatre, thereby creating a more rigid, universalised or solitary experience, seriously threatens the integrity, and also the point, of the live theatre experience.

Australasian Conference On Interactive Entertainment, 2005

Interactive Drama is the ultimate challenge of digital entertainment. In this paper, from our seven year experience in Interactive Drama, we try to shape the history of the field and envision what will be (or should be) the future of this history. Two main directions in particular are stressed, because we feel that the success of Interactive Drama lies in these two directions. The first one concerns the architecture of systems and how it would manage both narrative constraints and character's intelligence, believability and roundness. The second one focuses on project management by sketching a methodology of co-design for Interactive Drama.

Proceedings of the 21st International Symposium on Electronic Art, 2015

The Laboratory for Audience Interactive Technologies (LAIT), has been established at the University of Illinois Urbana-Champaign to investigate possibilities for mobile devices to enhance the dramatic and informational experience of audiences at theatrical events, including dance, theater, music concerts, sports events, and installation. LAIT has a twofold mission to 1) create a new type of theatrical experience for the 21 st century, 2) provide an experimental platform for industries to develop applications for entertainment and informational use. This paper describes a mobile development platform that will enable theatrical producers to rapidly prototype and produce deployable applications that run on services provided either by LAIT or by the end user, without the need to write a custom application for each production. This will provide a cost-effective application solution for individual theater, dance, music, and installation producers. LAIT also intends to provide guidance for aesthetic use of applications within the context of live performance, so that it can enhance or augment that experience, rather than distract or detract from it.

In this paper I present the challenges of combining game design with theatre conventions in relation to the implementation of a hybrid form of pervasive game and interactive theatre, Chain Reaction (CR). I use game design as part of my research process in order to answer how games can be used to promote and develop theatre, more specifically how games can foster artistic creativity. My argument is that games´s competitiveness lure players into engaging in aesthetic activities e.i. Devising theatre and acting, while simultaneously allowing them to manipulate their engagement in the game and enjoy the thrilling experience of making theatre.

Proceedings of the 2017 CHI Conference Extended Abstracts on Human Factors in Computing Systems, 2017

Our case study explores how interactive systems may influence and enhance theatre performances. We produced a short play featuring four interactive systems. Using a mixed-method evaluation approach we strive to answer two main research questions: How do users (actors and directors) adapt to the technology, and how do spectators perceive interactive scenes? We found the success of using interactive systems in theater to be based mainly on how interaction is conceptualized in reference to the script. Adaptions are done on both sides-system and user need to "understand" each other, and the audience's perception is not necessarily characterized by recognizing interactivity per se but rather by experiencing it in a theatre play as a whole.

2018

Papernumber: 3386-11628-1-SM.docx Killing the Modern Theatre: A New Medium to Augment Stage Performances Richard Buckner 1214 Calle Violeta, Thousand Oaks, CA, USA, [email protected] ABSTRACT Paul Simon, in " The Dangling Conversation ," asked "Is the theatre really dead?" Yes, traditional theatre of the literary, mechanistic age is. Consequently, the play script and its format are dead because we have moved to the electrical, electronic, digital (EED) age and theatre is no longer just humans on a stage delivering dialogue, action and possibly song with realistic or even impressionistic sets. This paper shows how Electronic Digital Displayed Script With Embedded Multi-Media (EDDSWEMM), in a way, acts as a " Bridge Over Troubled Water " from the new EED age to the old literary age. In fact, the whole of society has changed, and theatre needs to follow. Marshall McLuhan, the Toronto philosopher, stated that the societal impact of a new medium is f...