Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject.
It is only recently that VR has become one of the most sought out technologies to create a narrative experience. However, as David Z. Saltz points out, 'scholars and practitioners have yet to settle on a name to describe performances that incorporate digital media'. In this article, I extend Jennife...
| Publicado en: | Contemporary Theatre Review Vol. 32; no. 2; pp. 177 - 191 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
May2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=158721490&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 158721490 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10486801 7VS jtl: Contemporary Theatre Review issn: 10486801 maglogo: N pubinfo: dt: May2022 vid: 32 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 158721490 10.1080/10486801.2022.2047031 ppf: 177 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.3MB tig: atl: Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject. aug: au: Park, Jihay su: Virtual reality Theater Technology in the theater Cyborgs Shakespeare, William, 1564-1616 sug: subj: Virtual reality Theater Technology in the theater Cyborgs Shakespeare, William, 1564-1616 keyword: cyborg cyborg theatre immersion Shakespeare virtual reality ab: It is only recently that VR has become one of the most sought out technologies to create a narrative experience. However, as David Z. Saltz points out, 'scholars and practitioners have yet to settle on a name to describe performances that incorporate digital media'. In this article, I extend Jennifer Parker-Starbuck's concept of 'cyborg theatre' to the three technological retellings of Shakespeare – To Be With Hamlet, Hamlet 360, and The Under Presents: Tempest – and demonstrate immersive VR theatre as a site where the possibilities of shifting subjectivity materialize. The first section explores the nature of VR in theatre through its central function. Focusing on my experiences of the productions, I explore the cyborgean intersections in VR theatre via the sense of immersion, and highlight how the immersive power of VR incites reflections on the impact of new technologies on the body and the subject of the audience. Based on an examination of immersion, the second section focuses on the audience's embodied subjectivity and argues immersive VR theatre as a site where alternative corporeal and technological configurations could be tested out. I am especially interested in how sensory immersion in VR, unlike existing claims on it, relates to the materiality as well as the imitative representation of a fictional world. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Theatre Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Theatre Review holder: Taylor & Francis Ltd dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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