...Lawrence Switzky Investigating the use of the famous trolley problem in a stage play, virtual reality simulation, and video game, Switzky explores the ways in which the transmediation of this philosophical thought experiment colors the process of moral decision making. Switzky focuses on the ways...

... presented videotapes of the virtual- reality operas he has created with Michel Lemieux since 1992. In their early productions (Pythagoras’ Breath and Grand Hôtel des Etrangers), real singers and actors sat side by side on stage...

..., digital theater, transmedia theater, and mixed reality performance.4 (My current research explores the dimensions of virtual theater, a term I like because its range of meanings suggests affin- ities between conventional embodied performances and digital or otherwise imaginary performances.) One...

..., virtual reality, performative games, and genres of performance designed for digital interaction, distribution, and spectatorship, has sustained these debates, both in academic circles and in performance practice. Particularly compelling is the question of how digital media can affect perfor- mance...

... the same dilemma — in this case, philosopher Philippa Foot’s famous trolley problem — acquire different characteristics depending on whether we encounter it first as philosophical abstraction, as charged virtual reality experience, as abstracted video game, or as theatrical scenario enacted...

...- and settle down to, shall we say, promoting the lected social, authentically social, forms of art. good things of life - entertainment, fantasy, People are beginning to live in a virtual reality and escapism. The audiences turn away with which attenuates the relevance of theater for impatience...

... the home of all sorts of media, a lot of studios between audience and performer, and espe- are interested in developing content for virtual cially financial models required to support reality, and these studios...

... character playing two roles, Theater is also true virtual reality- or it could even two differently gendered roles, and I like be. If The Race of the Ark Tattoo were a film or a how time works in her plays...

... digital reconstructions, such as the digital performance projects Paul Kaiser and Shelley Eshkar’s Ghostcatching (1999), David Saltz’s Virtual Vaudeville (2002 – 4), and Joanne Tompkins’s virtual reality reconstructions of the Rose Theatre (2009 – present), to name only a few.2 In light...

... busy with construction. Director Christoph Schlingensief, controversial ringmaster of actual and virtual realities, sends up both in a production of his play Rosebud at Berlin’s Volksbühne am Rosa Luxemburg Platz. Inspired by Orson Welles’s Citizen...

... created a cinematic quality reminiscent of 28 Rainer’s filmmaking days. In both cases, the additional space lent psychological depth 29 to the choreography. Was the backstage area the unconscious, the underworld, or a 30 virtual reality? No matter the reading, artists of very different...

... of Subjectivity In this unavoidable paradox, the virtual worlds carried by the extrapersonal-­ extrasensorial-­extrapsychological experience of the forces clash with the current car- tographies that are accessed by the personal-sensorial-psychological-cultural experi- ence of reality in its actual forms...

...- mentation, globalization, and virtual reality does not necessarily mean the exclusion of “actual relations” and “material culture.” There has got to be a way to reinvent the Left, but it will have to take account of the intervening intellectual history...

... Hungary. After the Berlin Wall came down, Hungarian theater makers were at a loss. Political realities that had determined the scene for a good three decades in the East- ern bloc’s “gayest barrack,” a constant double entendre on the stages of the Kaposvár and Katona József theaters...

... realities that had determined the scene for a good three decades in the East- ern bloc’s “gayest barrack,” a constant double entendre on the stages of the Kaposvár and Katona József theaters — now internationally famous — suddenly lost all meaning. Freedom of speech — that was the rub. But soon...

... Hungary. After the Berlin Wall came down, Hungarian theater makers were at a loss. Political realities that had determined the scene for a good three decades in the East- ern bloc’s “gayest barrack,” a constant double entendre on the stages of the Kaposvár and Katona József theaters...

..., page 41, where the line between reality and virtual reality is no longer and Wille, page 12). A Brechtian skepticism clear. It was the first superpower conflict after the end of the drifted across the room at the notion that Cold War. It was the first...

... that the adventures of the characters become as important as the adventures of the audience’s friends and family.”54 In this way, an intermittent pace that might seem to attenuate a performance actually reinforces its reality effect. We might call this brand of digitally enabled verisimilitude “virtual...

... wing press. Berlin newspaper critics Moreover, the scenic location augments its terror were considered sufficient fulfillment chorused their virtually unanimous agree- effect almost to the point of being of-moral duty. After the Freie Volksbiihne ment. Heinz Galinski, the conservative unbearable...

... is taken from McLuhan’s essays; the rest comes from Jean Baudrillard, AT&T ads, and magazines such as Mondo 2000 or Wired.And yet it all feels like McLuhan, even though vocabulary such as “internet” and “virtual reality” entered the language after McLuhan’s death in 1980. This lends an air...