New media dramaturgy and postdigital performance. User experience design of contemporary performing arts
PDF (Język Polski)

Keywords

post-digital performance
new media dramaturgy
user experience design
performing arts
Interrobang
Blast Theory

How to Cite

Kłeczek, J. . (2021). New media dramaturgy and postdigital performance. User experience design of contemporary performing arts. Przestrzenie Teorii, (36), 109–125. https://doi.org/10.14746/pt.2021.36.6

Abstract

The paper aims to answer the question – to what extent is the current reflection on user experience design in performing arts still valid? The text discusses the concept of post-digital performance (Causey); and the phenomenon of user experience design in the face of new media dramaturgy (Eckersall, Grehan, Scheer). From the perspective of these concepts and phenomena, I describe two works (To Like or Not to Like by Interrobang and Karen by Blast Theory). The text complements the discussion on performance artists’ approaches to media technologies. In this paper, I describe the changes in designing the relationships of performers and users (individualization and personalization) and the contexts of everyday media practices in artists’ strategies.

https://doi.org/10.14746/pt.2021.36.6
PDF (Język Polski)

References

Archey K., Peckham R., Art Post-Internet, http://ucca.org.cn/en/exhibition/art-post-internet/ (dostęp: 30.03.2021).

Birringer J., Performance, technology, and science, New York 2008.

Broadhurst S., Digital Practices, Basingstoke 2011.

Butler A., Affective Encounter: Repetition and Immersive Practices in Man of Valour,„Rhizome. Cultural Studies in Emerging Knowledge” 2019, nr 35, www.rhizomes.net/issue35/butler/index.html (dostęp: 30.03.2021).

Carr N., Płytki umysł. Jak internet wpływa na nasz mózg?, przeł. K. Rojek, Gliwice 2013.

Causey M., Postdigital Performance, „Theater Journal” 2016, nr 3.

Causey M., Theatre performance and technology, London 2006.

Chatzichristodoulou M., Karen by Blast Theory: Leaking Privacy, [w:] Digital bodies, red. S. Broadhurst, S. Price, London 2017.

Davies E., Experience Design (And the Design of Experience), https://www.academia.edu/11656018/Experience_Design_And_the_Design_of_Experience_ (dostęp: 30.03.2021).

Dixon S., Cybernetic-existentialis, London – New York 2020.

Dixon S., Digital Performance, Cambridge 2007.

Eckersall P., Grehan H., Scheer E., New Media Dramaturgy, London 2017.

Ferrando F., Philosophical posthumanism, London – New York 2020.

Gere C., Digital Culture, London 2008.

Ilter S., Unsettling the ‘friendly’ gaze of dataveillance: the dissidentpotential of mediatised aesthetics in Blast Theory’s Karen, „International Journal of Performance Arts and Digital Media” 2017, nr 1.

Klich R., Intermedial Theatre. On Technology, [w:] Intermedial Theatre. Principles and Practices, red. M. Crossley, London 2019.

Kluszczyński R.W., Can You See Me Now? (2001) Blast Theory, [w:] Klasyczne dzieła sztuki nowych mediów, red. P. Zawojski, Katowice 2015.

Kłeczek J., Historycznomedialne przemiany scenotechniki, notacji i podmiotowości w sztukach performatywnych, Poznań 2018 (praca doktorska), https://hdl.handle.net/10593/23952 (dostęp: 30.03.2021).Laurel B., Computers As Theatre, New York 1991.

Lehmann H.-T., Teatr postdramatyczny, przeł. D. Sajewska, M. Sugiera, Kraków 2009.

McHugh G., Post Internet. Notes on the internet and art 12.29.09> 09.05.10, Brescia 2011.

Mee E.B., The Audience Is the Message: Blast Theory’s App-Drama Karen, „TDR/The Drama Review” 2016, nr 3.

Parker-Starbuck J., Cyborg theatre, New York 2014.

Postdigital Aesthetics. Art, Computation and Design, red. D.M. Berry, M. Dieter, Basingstoke 2015.

Salter C., Entangled, Cambridge 2010.

Spence J., Performative Experience Design, Cham 2016.

Spence J., Andrews S., Frohlich D.M., Performative Experience Design, [w:] CHI2013 Changing perspectives, red. P. Baudisch, M. Beaudouin-Lafon, W.E. Mackay, Paris 2013.

The Performing Subject in the Space of Technology. Through the Virtual, Towards the Real red. M. Causey, E. Meehan, N. O’Dwyer, London 2015.