Who is there? Performative distance and the intermedial audience in cyberformance

Clara Gomes

doi:10.34629/rcdmt.vol.2.n.1.pp36-48

Autores

Clara Gomes ICNOVA https://orcid.org/0000-0003-2575-2981

DOI:

https://doi.org/10.34629/rcdmt.vol.2.n.1.pp36-48

Palavras-chave:

Intermedialidade, Público intermedial, Distância performativa, Ciberformance

Resumo

A ciberformance, uma prática híbrida que mistura ambientes físicos e virtuais, desafia as noções tradicionais de participação do público e de distância performativa. Este artigo investiga como a intermedialidade molda a dinâmica destas performances, levando ao surgimento de um público intermedial. Baseando-se nas teorias clássicas de Bertolt Brecht e Antonin Artaud, em académicos contemporâneos como Freda Chapple e Chiel Kattenbelt e na prática da ciberartista Helen Varley Jamieson, este ensaio estabelece uma ponte entre perspetivas históricas e teóricas e exemplos práticos de ciberformance.

A mudança de paradigma possibilitada pelas tecnologias da internet permite uma convergência entre artistas e público, transformando criações artísticas individuais em processos colaborativos. A pergunta de Hamlet “Quem está aí?” simboliza a consciência duradoura do público, agora reformulada dentro dos contextos digitais e de realidade mista. Este artigo explora como a ciberformance negocia interação, autoria e agência, examinando o equilíbrio entre o controle do performer e a participação do público.

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Biografia do Autor

Clara Gomes, ICNOVA

Clara Gomes is a performer, filmmaker, journalist, university lecturer and full integrated researcher at ICNOVA – New University of Lisbon, where she presented her PhD. thesis entitled Ciberformance - a performance em ambientes e mundos virtuais [Cyberformance – performance in virtual environments and worlds] (published by Leya, 2015). She conducts research on the use of virtual platforms and multimodal interfaces for the arts. She is involved in the mixed reality performance project Senses Places and in the development of the cyberformance platform UpStage. Some of her video-art works have been exhibited internationally in several galleries, museums and festivals.

Referências

Artaud, Antonin. 1938. Le théâtre et son double. Paris: Gallimard.

Auslander, Philip. 1999. Liveness: Performance in a mediatized culture. London and New York: Routledge.

Bennett, Susan. 1997. Theatre audiences: a theory of production and reception, 2nd ed. London and New York: Routledge.

Benford, Steve and Gabriella Giannachi. 2011. Performing Mixed Reality. Cambridge: MIT Press.

Blau, Herbert. 1990. The audience. Baltimore, MD.: Johns Hopkins University Press.

Brecht, Bertolt. 1964. “A Short Organum for the Theatre.” 1949. In Brecht on Theatre: The Development of an Aesthetic, edited and translated by John Willett, 1-19. London: Methuen.

Bruns, Axel. 2008. Blogs, Wikipedia, Second Life and beyond: From Production to Produsage. New York: Peter Lang.

Chapple, Freda and Chiel Kattenbelt. 2006. Intermediality in theatre and performance. Amsterdam: Rodopi.

Gomes, Clara. 2015. Ciberformance: a performance em ambientes e mundos virtuais. Lisboa: Leya.

Jamieson, Helen Varley. 2008. “Adventures in Cyberformance − Experiments at the interface of theatre and the internet.” MA Diss. Drama, Creative Industries Faculty, Queensland University of Technology.

Meyerhold, Vsevolod. 1969. Meyerhold on Theatre. Translated and edited by Edward Braun. London: Methuen / New York: Hill and Wang.

Murray, Janet. 1997. Hamlet on the Holodeck: The future of Narrative in Cyberspace. New York: Free Press.

Pethő, Ágnes. 2020. “Introduction: The Art of In-Betweenness in Contemporary Eastern European Cinema.” In Caught in Between, edited by Ágnes Pethő. 1–24. Edinburgh: Edinburgh University Press.

Piscator, Erwin. 1929. The Political Theatre. A History 1914–1929.1978. Translated by Hugh Rorrison. New York: Avon.

Ryan, Marie-Laure. 1997. “Interactive Drama: Narrativity in a Highly Interactive Environment”. In Modern Fiction Studies, vol. 43, no. 3, 677–707.

| Performances Cited

Dress the Nation (Avatar Body Collision, 2003).

https://www.creative-catalyst.com/abc/lysis/lysis.html.

Extract/Insert (Chafer, Upton and Stelarc, 2012).

https://youtu.be/vKanHILj6X4?si=a2Sk4XNXpI1uSu5Q.

Jeux de Massacre (Gomes, Jamieson, Papagiannouli and Peric, 2020-2021).

https://upstage.org.nz/?event=jeux-de-massacre

Mobilise/Demobilise (Jamieson, 2021-2024).

https://mobilise-demobilise.eu/about/team/.

Senses Places (Valverde and Cochrane, 2010-2025).