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SFU Thesis Template Files Framing Effects: The Impact of Framing on Copresence in Virtual Theatre by Benjamin Asher Unterman B.A., University of Ottawa, 2000 M.A., University of Alberta, 2005 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Interactive Arts and Technology Faculty of Communication, Art and Technology Benjamin Asher Unterman 2017 SIMON FRASER UNIVERSITY Spring 2017 Approval Name: Benjamin Asher Unterman Degree: Doctor of Philosophy Title: Framing Effects: The Impact of Framing on Copresence in Virtual Theatre Examining Committee: Chair: Lyn Bartram Associate Professor Thecla Schiphorst Senior Supervisor Professor Bernhard Riecke Supervisor Professor Steve DiPaola Internal Examiner Professor School of Interactive Arts and Technology Simon Fraser University Maria Chatzichristodoulou External Examiner Associate Professor Performance and New Media London South Bank University Date Defended: January 19, 2017 ii Ethics Statement iii Abstract Virtual theatre (enacted dramatic narrative performed live online) is an emerging form of theatrical mediation. One of the biggest challenges faced by this growing media practice is the management of audience experience. This thesis attempts to address the uncertainty around virtual theatre audiences by focusing on the framing of performances that take place in virtual worlds. Strategic approaches to framing and audience preparation are suggested based on literature-based research, case studies and experimental approaches to understanding the role of context and information to audience experience. The core research of the thesis involves a mixed-methods approach to understanding the impact of framing on virtual theatre. The first phase is theoretical, using existing theories of framing drawn from many disciplines in order to create analytical framework to establish the functional features of audience preparation. This framework is then used to analyse the audience preparation strategies of three Vancouver-based live art companies using both interviews and document analysis. Finally, framing strategies from both stage theatre and commercial cinema are used to create framing conditions that are tested using a controlled experiment on a virtual theatre production. The research findings are the basis of a series of recommendations for theatrical events presented in various media. The consequences for virtual theatre are emphasised in an attempt to expand the scope of this emerging form of theatrical expression. Keywords: Virtual Theatre; Framing; Copresence; Audience; Theatre; Mediation iv Dedication This thesis is dedicated to Louis, my source of inspiration and motivation throughout this journey. v Acknowledgements I want first of all to thank Professors Thecla Schiphorst and Bernhard Riecke, without whose supervision this thesis would not have been possible. Thecla’s advice and rigorous creativity were instrumental in integrating the diverse perspectives and research approaches that this thesis required. Bernhard’s insistence on experimental rigour and openness to my artistic experimentation have made this document much more effective. I also want to thank my many colleagues at SIAT for the many things you have taught me during my time here. So many of the best ideas in this thesis have emerged from the conversations we have had in passing, and I am forever grateful for your perspectives. I want to single out the members of our impromptu thesis writing group, Natalie Funk and Michal Nixon, whose support has made the writing process so much easier. This research would also not have been possible without the creative team behind The Forgotten Sentry. This virtual theatre production was directed for the thesis by DC Spensley based on a script written by Nena St. Louis. The show would not have been complete without the Second Life acting of Milton Lim, wytchwhisper and buffy. The voices of the characters were brought to life by Richard Wolfe, Deena Easton, Sasha Cripton-Inglis, Louis Unterman & Nikki Inglis. Without all of these tremendously creative people, none of this would have been possible. Finally, and most importantly, I want to thank my parents, David & Kathy, my son, Louis, and my fiancée Doris, for their incredible support and patience throughout this crazy adventure. vi Table of Contents Approval .......................................................................................................................... ii Ethics Statement ............................................................................................................ iii Abstract .......................................................................................................................... iv Dedication ....................................................................................................................... v Acknowledgements ........................................................................................................ vi Table of Contents .......................................................................................................... vii List of Figures ................................................................................................................ xi Chapter 1. Exploring Framing in Virtual Theatre ..................................................... 1 1.1 Defining Virtual Theatre .......................................................................................... 2 1.2 A brief history of virtual theatre ............................................................................... 5 1.2.1 Chatroom performances ................................................................................ 5 1.2.2 Virtual World Performances ........................................................................... 6 1.2.3 Video Game Performances ............................................................................ 7 1.2.4 Webcam Performances ................................................................................. 8 1.2.5 Virtual Theatre ............................................................................................... 8 1.3 Theatricality & Copresence ....................................................................................... 9 1.4 Framing and Copresence in Virtual Theatre ............................................................ 11 1.5 Framing Virtual Theatre ........................................................................................... 14 Chapter 2. Theatrical Mediations ............................................................................ 15 2.1 Theatre as medium ................................................................................................. 17 2.1.1 Understanding Medium ................................................................................ 18 2.1.2 Theatricality and Mediation .......................................................................... 19 2.2 Toward a Taxonomy of Theatrical Mediations ......................................................... 24 2.2.1 Character Mediation: Character Embodiment and Narrative Salience .......... 27 2.2.2 Audience Reception: The relationship between audience and performer ................................................................................................. 31 2.3 Distinguishing features of theatrical mediations ....................................................... 38 2.3.1 Spatial Proximity .......................................................................................... 41 2.3.2 Live Presentation ......................................................................................... 44 2.3.3 Mode of Embodiment ................................................................................... 49 2.4 Virtual Theatre Applications ..................................................................................... 51 2.5 Understanding Theatrical Mediations ...................................................................... 57 Chapter 3. Copresence Effects ............................................................................... 59 3.1 Defining copresence ................................................................................................ 61 3.1.1 Media studies copresence terminology ........................................................ 62 3.1.2 Theatrical copresence terminology .............................................................. 65 3.1.3 Copresence as unifying term ....................................................................... 67 3.2 Studies of Mediated Copresence ............................................................................. 67 3.2.1 Media studies approaches to copresence .................................................... 68 3.2.2 Theatre studies approaches to copresence ................................................. 73 vii 3.3 Copresence Effects ................................................................................................. 77 3.3.1 Copresence effects and theatrical mediation ............................................... 81 3.3.2 Copresence effects and the book problem ................................................... 83 3.4 Studying Copresence Effects: Research Implications .............................................. 87 Chapter 4. A Mixed-Methods Approach to Studying Framing .............................. 90 4.1 Chapter 5: Framing Theatrical Mediations ............................................................... 91 4.2 Chapter 6: Case
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