... and performed by Marina Abramović, Venice Biennale, 1997. Courtesy of Sean Kelly Gallery Sarah Bay-Cheng­ Theater Is Media Some Principles for a Digital Historiography of Performance All history is media. Perhaps a more familiar statement would be that all history is mediated...

... for “inoculating” the public against paranoia. © 2012 by Miriam Felton-Dansky 2012 Miriam Felton-Dansky­ Viral Performance Contagious Hoaxes in the Digital Public Sphere Media Virus In 1994, novelist and media scholar Douglas Rushkoff heralded the advent of a new phe- nomenon that he...

..., London, 2003. Photo: Hugo Glendinning Up Front Digital Feelings Miriam Felton-Dansky­ and Jacob Gallagher-­Ross Like its predecessor, the 2012 “Digital Dramaturgies” issue (Theater 42, no. 2), this spe- cial issue of Theater focuses on new forms of performance arising in response...

...Sarah Bay-Cheng This essay considers the impact of digital media and video recording on theater and performance criticism. Using the concept of telematic viewing, the essay argues for a new model of performance criticism and analysis based on reality television and a broader application of affect...

...Annie Dorsen Annie Dorsen discusses the concept of the digital sublime and how it informed the creation of her work The Great Outdoors (2017). The Internet, in its scale and scope, and information itself has become a sublime landscape for contemplation, albeit more of a “stuplimity,” as Sianne Ngai...

...Matthew Wilson Smith Smith considers Robert Lepage’s recent high-tech production of Wagner’s Ring cycle at New York’s Metropolitan Opera, as a digital-age extension of the modernist aspiration—incited by Wagner—to create the total work of art. © 2012 by Matthew Wilson Smith 2012 Das Rheingold...

...Jennifer Buckley In this article, Jennifer Buckley investigates digital durational performances like Forced Entertainment's 12 a.m.: Awake & Looking Down and questions if and how media can feel like live theater and create community. She also discusses how social media platforms like Twitter...

... in a digitized age. © 2010 by Yale School of Drama/Yale Repertory Theatre 2010 Frozen Grand Central, Improv Everywhere, New York, 2006. Photo: Chad Nicholson John H. Muse Flash Mobs and the Diffusion of Audience I. At precisely 2:30 p.m. on a Saturday afternoon in 2006, more than two...

... ideas of the performances by various means—including architectures, human bodies, historical narratives, and digital technologies—to invoke past performances within the present. 21 Nicholas Lowe Discovering the Exhibition by Curating It Performing Goat Island s Archive I am struck again...

... and Media Theatre and Performance in Digital Culture: From Simulation to Embeddedness by Matthew Causey 2006: Routledge Entangled: Technology and the Transformation of Performance by Chris Salter 2010: mit Press The theater, if it is to survive, must do what it does best — what only it can...

... stalking — demand our participation as citizens in the digital age, asking us to main- tain certain standards of safety, mobility, communication, and, perhaps most of all, capitalist consumption. The structure of motivation is not particularly complex: if we participate, we get rewarded. Or we avoid...

... composed and performed her densely layered works in the United States, Europe, and Japan since 1984. Using her voice, live electronic processing, and sampling technology, she combines operatic bel canto and extended-vocal techniques with digital delays...

.... January 16, 2015. It was oddly warm, and garbage trucks were lining the streets of Lower Manhattan across from the courthouse. I had been looking through peoples’ telephones and computers all day, rifling through the detritus of their digital selves in search of something that told me who...

... to corporations for evermore targeted marketing campaigns — in exchange for sensations of digital con- nection and communion and new forms of self-­knowledge. For some, the intensified scrutiny is productive, even beneficial, allowing us to track steps taken, movies viewed, calories consumed, minutes...

... and use it to e«ciently set up checkpoints. They are searching for frizzy- haired snow¤akes and people who look like immigrants and the descendants of slaves. Theater 49:3 doi 10.1215/01610775-7855848 © 2019 by Noah Fischer fischer 42 Noah Fischer s Execution, watercolor with digital manipulation, 12 × 28...

...-­are-­ there embodiment of simmings there lies a spectrum of nonimmersive yet “bodied” experiences that also matter, and many of them are uniquely available through digital technology. Kurt Vanhoutte describes the individual at the beginning of the twenty-­ first century as “perpetually undulatory — in orbit...

... of the spectator’s experience of theatre . . . the limited camera work possible in early television created an effect of spatial continuity more comparable to theatre than to cinema.”4 In reviving early television’s theatricality in the medium of digital video, Horace and Pete enters the orbit of some...

... itself but also by questions introduced by the affordances and deficiencies of the digital medium. In many ways, the application of digital tools and methods to humanities data is paradoxical, as they have been absorbed from disciplines whose epistemological foundations and fundamental values...

... so many questions about what a human performer is and does, and about what live theater looks like in a digital age. After all, these were computers, performing live (no two showings of Dorsen’s piece were exactly the same) and behaving the way that two slightly addled human conversationalists...

... time human performers made us laugh so hard. But Hello Hi There was entertaining and provocative precisely because it asked so many questions about what a human performer is and does, and about what live theater looks like in a digital age. After all, these were computers, performing live...