ABSTRACT Title of Document: DIGITAL THEATRE: A “LIVE” AND MEDIATED ART FORM EXPANDING PERCEPTIONS OF BODY, PLACE, AND COMMUNITY Nadja Linnine Masura, Ph.D., 2007 Directed By: Director of Graduate Studies, Dr. Franklin J. Hildy, Department of Theatre Keywords: Digital Theatre, digital performance, dance technology, body, place, telematic, community, collaboration, agency, media, Internet, “live,” computer, theatre, cyberplace, cyberspace, multi-site performance, Access Grid, Virtual Reality, MIDI, Digital Performance Archive This work discusses Digital Theatre, a type of performance which utilizes both “live” actors and co-present audiences along with digital media to create a hybrid art form revitalizing theatre for contemporary audiences. This work surveys a wide range of digital performances (with “live” and digital elements, limited interactivity/participation and spoken words) and identifies the group collectively as Digital Theatre, an art form with the flexibility and reach of digital data and the sense of community found in “live” theatre. I offer performance examples from Mark Reaney, David Saltz, Troika Ranch, Gertrude Stein Repertory Theatre, Flying Karamazov Brothers, Talking Birds, Yacov Sharir, Studio Z, George Coates Performance Group, and ArtGrid. (The technologies utilized in performances include: video-conferencing, media projection, MIDI control, motion capture, VR animation, and AI). Rather than looking at these productions as isolated events, I identify them as a movement and link the use of digital techniques to continuing theatrical tradition of utilizing new technologies on the stage. The work ties many of the aesthetic choices explored in theatrical past by the likes of Piscator, Svoboda, Craig, and in Bauhaus and Futurist movements. While it retains the essential qualities of public human connection and imaginative thought central to theatre, Digital Theatre can cause theatrical roles to merge as it extends the performer’s body, expands our concept of place, and creates new models of global community. DIGITAL THEATRE: A “LIVE” AND MEDIATED ART FORM EXPANDING PERCEPTIONS OF BODY, PLACE, AND COMMUNITY By Nadja Linnine Masura Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2007 Advisory Committee: Dr. Franklin J. Hildy, Chair Dr. Faedra Carpenter Professor Dan Conway Dr. Susan Haedicke Dr. John Newhagen Dr. David Saltz © Copyright by Nadja Linnine Masura 2007 Dedication I’d like to dedicate this work to the memory of Sy Weisman, Randy Sadler, Richard Snyder, and Paul and Mary Masura, without whom I would not be here; and to all those who encouraged me. ii Acknowledgements I’d like to thank the members of my committee, each of whom has brought valuable insights to this work and shaped my experience at Maryland. My thanks go out to: Dr. Franklin J. Hildy who brought me to Maryland and started me on this path of investigation, checking my progress along each stage of this journey; Dr. John Newhagen for his keen insights into communications and new media which shaped my initial model; Dr. Susan Haedicke for her perceptive approach to theory and whose provocative and human pedagogy shaped my development as a scholar; Professor Dan Conway for his shared enthusiasm in digital graphics; Dr. David Saltz for sharing his expertise and valuable insights; and to Phaedra Carpenter for her support. I would also like to thank Dr. Fuegi who demonstrated continued faith in my projects and helped with this process. My special thanks go to Paul Jackson, and the Dance Department for their support of innovative performance. I’d like also like to thank MITH for their continued support. Additionally I’d like to thank Brandon Morse, Brian Buck, David McNabb, Ryan Megredy, Mac Nelson, and Lenita Reeves whose support and assistance gave me skills and allowed me to work with digital technology while at the University of Maryland. Thanks to the all members of the Digital Performance Group for their work on Elements, and all my colleagues who have joined me in digital performances. I’d also like to thank Jimmy & Beth Miklavcic in Utah as well as Scott & Miho in Alaska, Charles in Montana, Junko in Boston, and the many other members of the ArtGrid community who have given me such a wonderful experience. My thanks to all the practitioners who talked with me performed, and shared their media: Cheryl Faber and the crew of GSRT; Yacov Sharir and John Mitchell; Mark Coniglio and Dawn Stoppiello of Troika Ranch; Dan Zellner; Katherine Farley; Dr. David Z. Saltz; Mark Reaney; The Talking Birds; The Flying Karamazov Brothers; the Builder’s Association, members of Dance-Tech; and ArtGrid. Thanks also the creators of the Digital Performance Archive for creating such a valuable resource for study. I’d also like to thank Marci Marinelli and the members of Dissertation Support Group, and the Ledins. Though it has been a hard road, it is one well worth walking, and I hope it leads to many possibilities. Finally, I’d like to thank my family, whom I love dearly, and my husband and best friend Peter Rogers, without whose love, support, and assistance this would not have been possible. iii Table of Contents Dedication..................................................................................................................... ii Acknowledgements......................................................................................................iii Table of Contents......................................................................................................... iv List of Figures............................................................................................................. vii Chapter 1. Introduction ................................................................................................ 1 Chapter 2. Body and Its Digital Other ....................................................................... 22 The Body Theorized ............................................................................................... 25 Neo-Bakhtinian Body ......................................................................................... 33 Difference/Différance ......................................................................................... 34 The Digital Other ................................................................................................ 37 The Video Other ................................................................................................. 38 The Video Other: Historical Background .......................................................... 40 The Digital Other ................................................................................................ 47 Historical Background: The Puppet and the Über-Marionnette ........................ 50 Futurist and Bauhaus Puppets............................................................................. 55 Mechanical Actors .............................................................................................. 77 Projectionist Costumes............................................................................................ 83 Screen Play in Mark Reaney’s The Magic Flute ................................................ 84 Projectionist Costumes: Historical Background ................................................ 94 Wearable Screens in Making of Americans ........................................................ 95 Conclusion ............................................................................................................ 111 Chapter 3. Body Places............................................................................................ 114 Historical Precursors: The Private Body on Public Display................................ 120 Dissection.......................................................................................................... 123 Minimally Invasive ............................................................................................... 126 Yacov Sharir: Virtual Dervish .............................................................................. 128 Holoman................................................................................................................ 131 Cyborgs................................................................................................................. 132 Stelarc ................................................................................................................... 134 Implants................................................................................................................. 142 Hungry@Corpos ................................................................................................... 146 Telematic Dreaming.............................................................................................. 147 Network Touch ..................................................................................................... 148 Chapter 4. The Performer’s Body Extended............................................................ 150 Digitizing Motion (Motion Trigger, Capture, Tracking)...................................... 150 Historical Background: Digitizing Motion .......................................................... 153 Digitization of Human Motion.............................................................................. 155 Troika Ranch........................................................................................................