The Changing Position of the Theatergoer in the Changing Space of Online Performances

Author:

Ármeán Fülöp Otília1ORCID

Affiliation:

1. Sapientia Hungarian University of Transylvania, Târgu Mureș, Romania

Abstract

During the last year we all were banned to participate in our everyday life using online transmission, homework, homeschool and different digital tools. But with all this we also gained access to cultural or other practices that previously were not part in our everyday life. That resulted in a detailed spectrum of participation from the form of listening-observing to the different levels of giving feedback and taking control (for example putting questions to the other participants or to the crew, taking part in the discussion, pausing or leaving an event). This paper investigates the possibilities of agency given to the participants by the online theater. It starts from personal experiences, but ends in questions regarding the medial nature of this new transmission form: to what extent should digitally transmitted performances, shows be considered theater? And if they are not theater, what are they?

Publisher

Uniwersytet Jagiellonski - Wydawnictwo Uniwersytetu Jagiellonskiego

Reference12 articles.

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3. 3. Boenisch P.M. (2003). Comedia Electronica: Performing Intermediality in Contemporary Theatre. Theatre Research International, vol. 28(1), pp. 34-45. DOI: 10.1017/S0307883303000130.

4. 4. Brantley B., Green J., Phillips M., Heller S. (2020). This Is Theater in 2020: Will It Last? Should It? The New York Times [https://www.nytimes.com/2020/07/08/theater/streaming-theater-experiments.html; 10.05.2021].

5. 5. Breel A. (2016). Agentive Behaviour, Creative Agency and the Experience of Agency: Towards a Contextual Framework of Agency in Participatory Performance. In: Audience, Experience, Desire: Interactivity and Participation in Contemporary Performance & The Cultural Industries. University of Exeter, Department of Drama.

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