Title: New frontiers. Live performances, archives and digital technology
Edited by: Donatella Gavrilovich
Year: 2017
Pages: 167
Editor: UniversItalia
ISSN: 2421-2679
Editorial
Il terzo numero della rivista Arti dello Spettacolo/Performing Arts, dedicato a Nuove frontiere: spettacolo dal vivo, archivi e tecnologie digitali, raccoglie i contributi di studiosi, direttori di museo, responsabili di archivio, direttori di teatro e attori, presentati al lettore suddivisi secondo il diverso approccio utilizzato dagli autori. Per questo motivo le curatrici hanno deciso di raggruppare gli articoli in tre sezioni: la prima è costituita da saggi storico-critici e filologici, la seconda contiene testimonianze e riflessioni intorno a esperienze dirette e l’ultima propone due contributi, che costituiscono il Focus della rivista. Il filo conduttore che si dipana attraverso tutti gli articoli riguarda l’impiego delle nuove tecnologie in diversi campi come, ad esempio, la ricostruzione digitale degli spettacoli, l’uso della registrazione audio-video, la creazione di archivi digitalizzati online. Grande rilevanza è quindi riservata alle proposte e ai risultati di studio e di sviluppo della ricerca internazionale in questo ambito senza mai trascurare la centralità dello spettatore e/o utente, verso il quale è costantemente focalizzata l’attenzione di chi crea uno spettacolo, di chi studia metodi innovativi di fruizione digitale degli archivi e di chi ricostruisce una performance storica. Una costante, rilevata in tutti gli articoli, è lo sguardo verso il ‘passato’, interpretato variamente come fonte d’ispirazione, di cultura e tradizione da conservare, ma anche come punto di partenza per affrontare nuove sfide. In alcuni autori è viva la consapevolezza di non aver ancora rivoluzionato l’eredità teatrale del Novecento e che, sebbene oggi si utilizzino tutte le più avanzate tecnologie, si faccia ancora ampio uso degli insegnamenti teorici e pratici di Stanislavskij, Mejerchol’d, Grotowski, Artaud, Appia, Craig, Kandinskij ecc.
La prima sezione si apre con il contributo di Maria Grazia Berlangieri, la quale spiega l’importanza delle metodologie digitali nella creazione di archivi, dedicati alle arti dello spettacolo e propone nuovi metodi di acquisizione e conservazione di documenti teatrali in particolar modo mediante l’uso della Realtà Aumentata, del Motion Capture e dei giochi per dispositivi mobili. Segue un saggio di Donatella Gavrilovich che offre una panoramica sui risultati di ricerche internazionali, relative all’applicazione delle nuove tecnologie nell’ambito della catalogazione dei beni teatrali, e presenta la propria idea creativa: il Perfomance Knowledge base. Grazia D’Arienzo prende in esame la messinscena dello spettacolo Aspettando Godot di Samuel Beckett con la regia di Alexander Arotin del 2005, analizzandone gli aspetti innovativi ottenuti grazie all’applicazione delle nuove tecnologie sullo spazio scenico. Riku Roihankorpi e Matthew Delbridge presentano i risultati di una ricerca comune, svolta nel corso di workshop universitari, riguardante l’analisi stilistica, la riproduzione e l’interazione di spettacoli del passato (Amleto di Shakespeare e Casa di bambola di Ibsen) attraverso l’uso delle tecnologie Motion Capture. L’articolo di Vittorio Fiore illustra come grazie ai digital media e, in particolare, a un uso sagace della luce, che teatralmente gioca sui monumenti antichi, si possa ricostruire la memoria dei luoghi vivificandoli e stimolando la partecipazione attiva degli spettatori. Cecilia Carponi analizza la versione filmica dell’opera oratorio Oedipus Rex di Stravinskij, diretta da Julie Traymor, sottolineando l’uso creativo della registrazione filmica nella riproduzione di uno spettacolo teatrale dal vivo. Con Leila Zammar si passa ad analizzare l’importanza di fonti incrociate d’archivio, digitale e tradizionale, nella ricostruzione scenografica di spettacoli storici nella Roma del Seicento, dei quali non esiste una documentazione dettagliata. Rimanendo nella Roma seicentesca, Samuele Briatore espone il risultato di una ricerca e le metodologie innovative utilizzate per la ricostruzione sonora di una festa barocca, allestita in Piazza Navona nel 1650. Apre la seconda sezione, dedicata a testimonianze ed esperienze dirette, l’articolo di Saeed Kazemian con una riflessione sulla globalizzazione come antidoto alla tendenza elitaria del teatro contemporaneo. Egli propone la creazione di una rete di social network in ambito teatrale che contrastino questa tendenza, favorendo lo sviluppo di un teatro più popolare che coinvolga anche le aree geografiche più depresse. Andrei Malaev-Babel riporta una sua esperienza relativa all’uso della registrazione di spettacoli dal vivo. L’autore sottolinea l’impossibilità nella maggioranza dei casi di catturare l’energia creativa sprigionata dall’attore e colta dallo spettatore durante la performance, ma riconosce anche l’apporto positivo di alcuni mezzi tecnologici. Dmitry Trubochkin riporta l’esperienza vissuta come spettatore della rappresentazione di Edipo Re di Sofocle, messa in scena nel 2016 ad Epidauro e successivamente al teatro Vachtangov di Mosca sempre con la regia di Rimas Tuminas. Ne confronta gli allestimenti, mettendo in evidenza come il luogo (spazio aperto/spazio chiuso) possa condizionare la resa spettacolare e la fruizione emotiva del pubblico. Roberta Nicolai e Lorenzo Cascelli testimoniano con il loro contributo l’esperienza della conferenza-spettacolo To be or not to be Roger Bernat di Fanny & Alexander, che prende spunto dalla tragedia Amleto di Shakeaspeare ibridandola. L’obiettivo degli autori è analizzare alcuni concetti chiave del teatro contemporaneo, quali mash-up e eterodirezione, per comprenderne i possibili risvolti futuri. Anche l’articolo di Gabriele Poole nasce dall’esperienza diretta di uno spettacolo, Vecchio Fango, messo in scena dalla compagnia Teatro dei Sensi Rosa Pristina al Teatro Festival di Napoli nel 2016. L’autore prende spunto da questa messinscena, di cui presenta una trascrizione scenica dettagliata, per introdurre alla poetica del ‘teatro dei sensi’ elaborata del regista colombiano Enrique Vargas. Dall’esperienza pratica di far teatro passiamo alla pratica museale dell’archiviazione e catalogazione dei beni teatrali con l’articolo di Dmitrij Rodionov, che tratta dell’esperienza di implementazione del sistema informatico CAMIS (Complex Automatic Museum Information System) presso il Museo Statale Centrale Teatrale “A.A. Bachrušin” di Mosca, da lui diretto. Nell’articolo sono analizzati i problemi da affrontare, gli obiettivi da raggiungere e i risultati ottenuti. Elena Servito, responsabile dell’archivio della Fondazione INDA di Siracusa, testimonia nel suo articolo l’impegno dell’Istituto siracusano sia nell’organizzazione e sponsorizzazione di eventi, sia nella cura e valorizzazione dei beni teatrali posseduti anche se la digitalizzazione del patrimonio teatrale conservato rimane ancora un obiettivo tutto da realizzare. Questo terzo numero della rivista si chiude con la sezione Focus con gli ultimi due contributi. Il primo di Artem Smolin e Donatella Gavrilovich presenta il risultato della collaborazione tra l’Università ITMO di San Pietroburgo e dell’Università di Roma “Tor Vergata” nell’applicazione delle nuove tecnologie per la diffusione e valorizzazione del patrimonio culturale teatrale mediante la creazione del Museo Virtuale, dedicato all’attrice russa Vera Komissarževskaja, di cui si illustra il processo creativo, la struttura e le fasi di realizzazione. Il secondo contributo di Manuel Onorati espone l’idea creativa di un codice identificativo per i beni teatrali, Codice ASPA, che risponde all’esigenza, avvertita ormai a livello internazionale, di rintracciabilità dei manufatti per la loro catalogazione digitale. La proposta è nata nell’ambito del progetto “Performance Knowledge base”, avviato all’Università di Roma “Tor Vergata”.
The third issue of the journal Arti dello Spettacolo/Performing Arts, dedicated to New Frontiers: Live Performances, Archives and Digital technology, collects the contributions of scholars, museum directors, archivists, theatre directors and actors. These contributions, divided according to the approach chosen by the authors, have been grouped by the two editors of this issue into three sections: the first contains critical-historical essays; the second reports reflections related to personal experiences lived by the authors; the third consists of two contributions, which form the Focus of the issue. The fil rouge, which unfolds throughout the articles, concerns the employment of the most updated technologies to various fields, including the digital reconstruction of performances, the use of audio-video recordings and the creation of online digital archives. Great relevance is therefore given by the authors to the new technological proposals and to the development of the international research in this field without forgetting the importance of the spectator and/or user, who is always in the mind of whoever stages a spectacle, studies new methods of using digital tools for archive researches, or reconstructs a historical performance. A constant element, found in all the articles, is the glance to the ‘past’ seen either as a source of inspiration, culture and tradition to preserve, or as a starting point to face new challenges. In some authors there is the consciousness that, notwithstanding the use of the more advanced technologies, the twentieth-century theatrical heritage has not been substantially changed: the presence of the theoretical and practical teachings by Stanislavskij, Mejerchol’d, Grotowski, Artaud, Appia, Craig, Kandinskij etc., is indeed evident in most contemporary performances.
The first section of the issue opens with an article by Maria Grazia Berlangieri, who explains the importance of digital technology in creating archives dedicated to the performing arts. She proposes new methods for the acquisition and storage of theatrical documents using Augmented Reality, Motion Capture and mobile games. The essay by Donatella Gavrilovich, which follows, offers an overview of the results of international researches concerning the application of the new technologies to the cataloguing of theatrical performances. The author also introduces her creative proposal in this field: the creation of the Performance Knowledge base (PKb). Grazia D’Arienzo analyses the staging of the spectacle Waiting for Godot by Samuel Becket, directed by Alexander Arotin in 2005. She points out the most innovative aspects of the performance, obtained thanks to the application of the new technologies to the scenic space. Riku Roihankorpi and Matthew Delbridge present the results of a common research, developed during university workshops, concerning the stylistic analysis, the reproduction and the interaction of spectacles of the past (Hamlet by Shakespeare and Doll’s House by Ibsen) with the employment of Motion Capture technologies. The article by Vittorio Fiore illustrates how, thanks to the digital media and to a skilful use of light, it is possible to reconstruct the memory of theatrical places: the game of light projected on ancient monuments can give them new life and stimulate an active participation of the spectators. Cecilia Carponi analyses the filmed version of the “Opera-oratorio” Oedipus Rex by Stravinsky, directed by Julie Traymor. The author highlights how a live recording of a theatrical production and a creative use of a camera result in a new type of spectacle, combining the experience of television viewers and theatre spectators. The article by Leila Zammar concerns the importance of the archival resources in bringing to light all the different staging aspects related to performances that lack a detailed description. The scholar presents the results obtained investigating multiple archival resources related to some relevant historical seventeenth-century spectacles performed in Rome. Staying in seventeenth-century Rome, Samuele Briatore reports the results and methodology used to reconstruct the sound environment of a baroque festival held in Piazza Navona in 1650. The second section of the issue, dedicated to personal experiences of the authors, opens with an article by Saeed Kazemian, who sees the globalization as an antidote to the elitist tendency of the contemporary theatre. He suggests the creation of a net of theatrical social networks to contrast this tendency and favour the development of a more popular theatre involving even the most depressed geographical areas. Andrei Malaev-Babel reports a personal experience related to the recording of live performances. The author underlines the impossibility in the great majority of cases to capture the creative energy generated by the actor and caught by the spectator during the performance, but he also recognizes the importance of some technological tools. Dmitry Trubochkin describes a personal experience lived as a spectator of the performance Oedipus Rex by Sophocles, staged in Epidaurus in 2016 and at the Vachtangov theatre in Moscow, both directed by Rimas Tuminas. The author compares the staging of the two performances, underlining how the place (open space/close space) can affect the spectacular rendition and the emotional reception of the public. Roberta Nicolai and Lorenzo Cascelli testify, with their contribution, the experience lived attending two happenings related to the performance To be or not to be Roger Bernat by Fanny & Alexander, which takes inspiration from the tragedy Hamlet by Shakespeare, hybridizing it. The aim of the authors is to analyse some key concepts of the contemporary theatre, like mash-up and eterodirezione, to understand their possible future development. Also the article by Gabriele Poole is based on a personal experience: the staging of a spectacle, Vecchio Fango, which was performed by the company “Teatro dei Sensi Rosa Pristina” at the Teatro Festival of Naples in 2016. The author takes inspiration from this staging, of which reports a detailed scenic transcription, to introduce the poetic of the ‘theatre of the senses’ elaborated by the Colombian director Enrique Vargas. With the article by Dmitrij Rodionov the practical experience of living the theatre leaves way to the archiving and cataloguing of theatrical resources. The author introduces the CAMIS (Complex Automatic Museum Information System) an information system aimed at implementing the number of digital resources offered by the “A.A. Bakhrushin” State Central Theatre Museum in Moscow. The article analyses the problems to face, the objectives to reach and the results already obtained. Elena Servito, responsible for the archives of the “Fondazione INDA” in Syracuse, describes the effort of her institution both in organizing and supporting events and in safeguarding and enhancing the theatrical goods, although the digitizing of the theatrical heritage is still an objective to fulfil. The Focus section closes this third issue of the journal, presenting two contributions. The first, by Artem Smolin and Donatella Gavrilovich, introduces the result of a collaboration between the University “ITMO” of St. Petersburg and the University of Rome “Tor Vergata” meant to apply the new technologies to the dissemination and enhancement of the theatrical heritage through the creation of a Virtual Museum, dedicated to the Russian Actress Vera Komissarževskaja. In the article, the authors illustrate the creative process, the structure and the stages which brought to the realization of the museum. The second contribution, by Manuel Onorati illustrates the creative idea of an identification codex (ASPA codex) to be attributed to the theatrical goods. The codex is an answer to the international exigence to trace theatrical artefacts to be digitally catalogued. The proposal has been stimulated by the project Performance Knowledge base financed by the University of Rome “Tor Vergata”.
Index
The third issue of the journal Arti dello Spettacolo/Performing Arts, dedicated to New Frontiers: Live Performances, Archives and Digital technology, collects the contributions of scholars, museum directors, archivists, theatre directors and actors. These contributions, divided according to the approach chosen by the authors, have been grouped by the two editors of this issue into three sections: the first contains critical-historical essays; the second reports reflections related to personal experiences lived by the authors; the third consists of two contributions, which form the Focus of the issue. The fil rouge, which unfolds throughout the articles, concerns the employment of the most updated technologies to various fields, including the digital reconstruction of performances, the use of audio-video recordings and the creation of online digital archives. Great relevance is therefore given by the authors to the new technological proposals and to the development of the international research in this field without forgetting the importance of the spectator and/or user, who is always in the mind of whoever stages a spectacle, studies new methods of using digital tools for archive researches, or reconstructs a historical performance. A constant element, found in all the articles, is the glance to the ‘past’ seen either as a source of inspiration, culture and tradition to preserve, or as a starting point to face new challenges. In some authors there is the consciousness that, notwithstanding the use of the more advanced technologies, the twentieth-century theatrical heritage has not been substantially changed: the presence of the theoretical and practical teachings by Stanislavskij, Mejerchol’d, Grotowski, Artaud, Appia, Craig, Kandinskij etc., is indeed evident in most contemporary performances.
The first section of the issue opens with an article by Maria Grazia Berlangieri, who explains the importance of digital technology in creating archives dedicated to the performing arts. She proposes new methods for the acquisition and storage of theatrical documents using Augmented Reality, Motion Capture and mobile games. The essay by Donatella Gavrilovich, which follows, offers an overview of the results of international researches concerning the application of the new technologies to the cataloguing of theatrical performances. The author also introduces her creative proposal in this field: the creation of the Performance Knowledge base (PKb). Grazia D’Arienzo analyses the staging of the spectacle Waiting for Godot by Samuel Becket, directed by Alexander Arotin in 2005. She points out the most innovative aspects of the performance, obtained thanks to the application of the new technologies to the scenic space. Riku Roihankorpi and Matthew Delbridge present the results of a common research, developed during university workshops, concerning the stylistic analysis, the reproduction and the interaction of spectacles of the past (Hamlet by Shakespeare and Doll’s House by Ibsen) with the employment of Motion Capture technologies. The article by Vittorio Fiore illustrates how, thanks to the digital media and to a skilful use of light, it is possible to reconstruct the memory of theatrical places: the game of light projected on ancient monuments can give them new life and stimulate an active participation of the spectators. Cecilia Carponi analyses the filmed version of the “Opera-oratorio” Oedipus Rex by Stravinsky, directed by Julie Traymor. The author highlights how a live recording of a theatrical production and a creative use of a camera result in a new type of spectacle, combining the experience of television viewers and theatre spectators. The article by Leila Zammar concerns the importance of the archival resources in bringing to light all the different staging aspects related to performances that lack a detailed description. The scholar presents the results obtained investigating multiple archival resources related to some relevant historical seventeenth-century spectacles performed in Rome. Staying in seventeenth-century Rome, Samuele Briatore reports the results and methodology used to reconstruct the sound environment of a baroque festival held in Piazza Navona in 1650. The second section of the issue, dedicated to personal experiences of the authors, opens with an article by Saeed Kazemian, who sees the globalization as an antidote to the elitist tendency of the contemporary theatre. He suggests the creation of a net of theatrical social networks to contrast this tendency and favour the development of a more popular theatre involving even the most depressed geographical areas. Andrei Malaev-Babel reports a personal experience related to the recording of live performances. The author underlines the impossibility in the great majority of cases to capture the creative energy generated by the actor and caught by the spectator during the performance, but he also recognizes the importance of some technological tools. Dmitry Trubochkin describes a personal experience lived as a spectator of the performance Oedipus Rex by Sophocles, staged in Epidaurus in 2016 and at the Vachtangov theatre in Moscow, both directed by Rimas Tuminas. The author compares the staging of the two performances, underlining how the place (open space/close space) can affect the spectacular rendition and the emotional reception of the public. Roberta Nicolai and Lorenzo Cascelli testify, with their contribution, the experience lived attending two happenings related to the performance To be or not to be Roger Bernat by Fanny & Alexander, which takes inspiration from the tragedy Hamlet by Shakespeare, hybridizing it. The aim of the authors is to analyse some key concepts of the contemporary theatre, like mash-up and eterodirezione, to understand their possible future development. Also the article by Gabriele Poole is based on a personal experience: the staging of a spectacle, Vecchio Fango, which was performed by the company “Teatro dei Sensi Rosa Pristina” at the Teatro Festival of Naples in 2016. The author takes inspiration from this staging, of which reports a detailed scenic transcription, to introduce the poetic of the ‘theatre of the senses’ elaborated by the Colombian director Enrique Vargas. With the article by Dmitrij Rodionov the practical experience of living the theatre leaves way to the archiving and cataloguing of theatrical resources. The author introduces the CAMIS (Complex Automatic Museum Information System) an information system aimed at implementing the number of digital resources offered by the “A.A. Bakhrushin” State Central Theatre Museum in Moscow. The article analyses the problems to face, the objectives to reach and the results already obtained. Elena Servito, responsible for the archives of the “Fondazione INDA” in Syracuse, describes the effort of her institution both in organizing and supporting events and in safeguarding and enhancing the theatrical goods, although the digitizing of the theatrical heritage is still an objective to fulfil. The Focus section closes this third issue of the journal, presenting two contributions. The first, by Artem Smolin and Donatella Gavrilovich, introduces the result of a collaboration between the University “ITMO” of St. Petersburg and the University of Rome “Tor Vergata” meant to apply the new technologies to the dissemination and enhancement of the theatrical heritage through the creation of a Virtual Museum, dedicated to the Russian Actress Vera Komissarževskaja. In the article, the authors illustrate the creative process, the structure and the stages which brought to the realization of the museum. The second contribution, by Manuel Onorati illustrates the creative idea of an identification codex (ASPA codex) to be attributed to the theatrical goods. The codex is an answer to the international exigence to trace theatrical artefacts to be digitally catalogued. The proposal has been stimulated by the project Performance Knowledge base financed by the University of Rome “Tor Vergata”.
Digital methodologies have a significant impact on Performing Arts archives. The essay explores a creative use of online archives and proposes new kinds of research in collaboration with biotechnology, computer, and game studies which offer the opportunity to develop new models of conservation, storage and dissemination of theatrical documents, especially through the use of Augmented Reality (AR), Motion Capture and mobile games.
Keywords: Performing Arts; Archive; Digital Technology; Augmented Reality; Game Interaction.
This article opens with an overview of the application of the new technologies to the cataloguing of the Performing Arts and presents a research project, which has brought to the creation of the Performance Knowledge base (PKb), a prototype software, aiming at cataloguing artistic productions, including plays, dances, lyric operas, movies as cultural objects.
Keywords: Database; Knowledge Base; Performing Arts; Cataloguing; Virtual Reconstruction.
The aim of this research paper is to examine how digital technology revitalizes the heritage of Samuel Beckett’s dramaturgical works, focusing in particular on the spatio-visual aspects of the performance. When analysing the topological dimension as it is presented in Beckett’s most famous play, this article takes as its primary case-study a staging of Waiting for Godot directed by the Austrian artist and director Alexander Arotin in 2005.
Keywords: Digital Performance; Waiting For Godot; Alexander Arotin; Digital Scenography; Mapping.
This paper discusses how to effectively explore the virtual architectonics of performance, which enable ways to reframe embodied knowledge in the contexts of theatre history, related scholarship, and performer education. The use of Motion Capture technologies now allows us to examine how changes in artistic agency may inform the performative canons evolved under different cultural frameworks. It offers ways to reconsider the paradigms that affect our present or future understanding of performative agency and environments. The approach is particularly relevant for the study of theatrical texts, performances and production processes, which reflect the cultural politics of a certain era but pass their embodied knowledge on to future performances by modes of intermediality.
Keywords: Theatre; Virtuality; Embodiedness; Intermediality; Mocap.
The art included in the urban space, as a mix of different disciplines: theater, dance, music, videos etc., offers the user the possibility of decoding and re-appropriation of urban characters, hidden or forgotten. Famous examples of past ‘urban theater’ have shown that sites are able to amplify the outcome of an artistic influence beyond its occurrence: memories remain in the spectator, developing recovery and urban regeneration processes. Mainly decisive is the use of light as a scenic project tool: also fundamental is transition from light that illuminates the space, to the light that creates it, and that through the use of digital media edit the built surface in a dynamic and virtual way, enhancing the ‘figurative potential’ and providing the community immersive reading space and new patterns of use. Cases of performance and site-specific installations based on light give evidence to the role of place in the gestation of the work and its communicative value.
Keywords: Technologies; Site-specific; Performance; Urban Theater; Video-mapping.
The essay analyses the filmed rendition of the “Opera-oratorio” Oedipus Rex by Stravinsky, directed by Julie Taymor in 1992. The rendition is a text document of the show, but it also fits into a film tradition as an independent artefact. Taymor conceals the theatrical dimension through the omission of images denouncing it in a recognizable manner. However, she does not deny the “performance space”, which becomes the meeting point between theatre and film. The case study shows that the recording of a live show, which can give shape to a filmic artefact in and of itself, can combine the experience of the television viewer and that of the theatre spectator.
Keywords: Show Recording; Liveness; Digital Theatre; Opera Film; Julie Taymor.
The aim of this article is to report some of the results obtained through the investigation of archival resources, which have allowed to make likely hypotheses on the development of staging techniques and theatrical devices of some spectacles staged by the Barberini in Rome between 1628 and 1656. Since for most of these spectacles there is not a detailed description, the investigation of primary sources, including reports, avvisi, letters, engravings, and contemporary manuals of scenography and theatrical sketches has been particularly helpful and has permitted to shed new light on the following aspects: artists and artisans hired to stage the performances, places chosen to stage them, furbishing of these places, building of the stage, position of the orchestra, main staging techniques, lighting, theatrical machinery and devices, methods for removing the curtain.
Keywords: Barberini; Theatrical Patronage; Bernini; Baroque Scenography; Theatrical Machinery and Devices.
This essay aims to trace a reconstruction methodology of sound events of the seventeenth-century Rome, through the study and analysis of literary sources and iconographic representations. Here are some results of the research in progress, showing the engraving of the Celebration of the Resurrection of 1650 in Piazza Navona, accompanied by its sound reconstruction made possible by using the Ableton Live software.The use of new technologies can synergistically combine the visual image with its sound. The audio product opens up the opportunity to expand sensory fruition of exhibitions.
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Keywords: Soundscape; Ableton Live; Sound; Iconography; Seventeenth Century.
In this article the author criticizes contemporary theatre’s tendencies toward elitism, and neglect of popular social media networks. He aims to show what relationships can be established between social networks and theater on the development of entertainment and calls for live theatre practitioners to increase attention to and interaction with digital media and online social networks.
Keywords: Theatre; Social Networks; Developing Countries; Spectator; Live.
The article deals with the “subtly-physical” dimension of a theatrical performance of the “school of emotional experiencing.” It argues an inability to capture the effect of an immediate presence inside this dimension, as experienced by audiences, via a means of digital and other recordings. It provides an explanation of the psycho-physical nature of an actor’s state achieved by both actors and spectator in such a performance, with its intangible radiations undetectable by recording devices. Finally, the article speaks of some advantages contemporary recording technology has over imperfect conditions of modern theatrical spaces with their outdated acoustics and “optics,” while stating a correlation between the development of an actor’s internal technique and that of theatrical technology.
Keywords: School of Experiencing; Actor; Film and Digital Media; Nikolai Demidov; Theatrical Architecture.
The paper is dedicated to the performance Oedipous the King by Sophocles directed by Rimas Tuminas which was co-produced by the Vakhtangov Theatre (Moscow, Russia) and the National Theatre of Greece (Athens) to be premiered in the Ancient Greek theatre of Epidaurus in summer 2016. The author concentrates on the director’s concept of the play, the work of the set designer and the composer, the role of chorus and individual actors, he also traces the development of the dramatic conflict and analyses changes that were made in the performance after it was transferred from the open-air orchestra to the traditional European box-stage of the Vakhtangov Theatre. Oedipus the King by Tuminas is taken here as an example of a ‘serious’ attitude towards the classical tragedy which is rare in the era of post-modernist irony.
Keywords: Oedipus the King; Rimas Tuminas; Vakhtangov Theatre; National Theatre of Greece; ‘Serious’ classical tragedy.
The essay is the result of the reflections on two different happenings. The first was a theoretical conversation during an artist-in-residence scheme that took place in Wroclaw in February 2016; the second was a performance that took place during the Teatri di Vetro Festival 10, held in Rome in October 2016.
Keywords: Roger Bernat; Fanny & Alexander; Teatri di Vetro 10 Festival; Hamlet; ‘Partecipative theatre’.
The article presents a script and a close reading of the play Vecchio Fango, staged by the company T.d.S. Rosa Pristina at the Napoli Teatro Festival 2016, as a basis for a discussion of the “theater of the senses”, a theater genre developed by Colombian theater director Enrique Vargas, on which Vecchio Fango is based. Given the scarcity of detailed documentation on the genre the article includes also a script of the play.
Keywords: Enrique Vargas; Theatre of the Senses; Rosa Pristina; Blind; Dark.
The article is concerned with the experience of implementing the Complex Automatic Museum Information System (CAMIS) in the “A.A. Bakhrushin” State Central Theatre Museum in Moscow. The author, who is also the director of the museum, analyzes the problems and the perspectives of the CAMIS development and he considers the problems of integrating the system with other external information networks. The most significant results are the implementation of the Collections Online and the formation of the “Virtual Fund of Pre-theatrical Museums” collection. The importance of security in the system is emphasized, being currently supported by multiple levels of protection against unauthorized access to information and images. Statistics tables of the database, referring to the years 2009-2017, complement the article.
Keywords: CAMIS; Collections Online; Virtual Fund; Security Access; Database statistics tables.
This article is about the Istituto Nazionale del Dramma Antico (INDA) founded in 1913 in Syracuse. The author, who is responsible for the archives of the INDA, explains the development and the activities of the Institute, underlining the importance of this institution in staging ancient tragedies in the Greek Theatre of Syracuse. She also illustrates in detail the documents and materials held in the INDA fund.
Keywords: INDA; Archives; Greek Theatre of Syracuse; Staging; Ancient tragedies.
This article concerns an international project involving the University of Rome “Tor Vergata” and the ITMO University of St. Petersburg which resulted in the creation of the first Virtual Museum dedicated to the Russian actress Vera Komissarzhevskaya. It allows virtual visitors to find all the information and documents concerning the life and the artistic activity of the Russian actress. Among these are documents that had been inaccessible before the creation of the virtual museum
Keywords: Vera Komissarzhevskaya; Virtual Museum; International Project;
Download Interactive Graph Displaying; Russian Theatre.
In this article, the author proposes a new digital codex (ASPA) to be applied to the Performance Knowledge base for the identification of items related to any single performance staged all over the world.
Keywords: Codex ASPA; Performing Arts; Cataloguing; Knowledge Base; Items Identification Systems.