Böcker i Palgrave Studies in Performance and Technology-serien

Digital Theatre is a rich and varied art form evolving between performing bodies gathered together in shared space and the ever-expanding flexible reach of the digital technology that shapes our world.

This book offers a wide-ranging examination of acts of 'virtual embodiment' in performance/gaming/applied contexts that abstract an immersant's sense of physical selfhood by instating a virtual body, body-part or computer-generated avatar.

This book explores the circus as a site in and through which science and technology are represented in popular culture. Across eight chapters written by leading scholars ΓÇô from fields as varied as performance and circus studies, art, media and cultural history, and engineering ΓÇô the book discusses to what extent the engineering of circus and performing bodies can be understood as a strategy to promote awe, how technological inventions have shaped circus and the cultures it helps constitute, and how much of a mutual shaping this is. What kind of cultural and aesthetic effects does engineering in circus contexts achieve? How do technological inventions and innovations impact on the circus? How does the link between circus and technology manifest in representations and interpretations ΓÇô imaginaries ΓÇô of the circus in other media and popular culture? Circus, Science and Technology examines the ways circus can provide a versatile frame for interpreting our relationship with technology.

This book addresses a deceptively simple question: what accounts for the global success of A Doll's House, Henrik Ibsen's most popular play? Using maps, networks, and images to explore the world history of the play's production, this question is considered from two angles: cultural transmission and adaptation.

Intermedial Shakespeares argues that intermediality has refashioned performances of Shakespeare's plays over the last two decades in Europe. It describes ways in which text and author, time and space, actor and audience have been redefined in Shakespearean productions that incorporate digital media, and it traces transformations in practice.

A cinema without cameras, without actors, without screen frames and without narratives almost seems like an antithetical impossibility of what is usually expected from a cinematic spectacle. This book defines an emergent field of post-cinematic theatre and performance, challenging our assumptions and expectations about theatre and film.

This trans-historical collection explores analogue performance technologies from Ancient Greece to pre-Second World War. From ancient mechanical elephants to early modern automata, Enlightenment electrical experiments to Victorian spectral illusions, this volume offers an original examination of the precursors of contemporary digital performance.

This innovative collection features essays by a range of internationally renowned scholars and reconsiders textual practices in contemporary performance, specifically focusing on the exciting exchange between text, body and technology.

This book explores technologies related to bodily interaction and creativity from a multi-disciplinary perspective.

This book explores technologies related to bodily interaction and creativity from a multi-disciplinary perspective.

Consisting of critical analyses, theoretical provocations and practical reflections by leading scholars/practitioners from the fields of performance studies, live art and creative technology, these essays examine the rise of intimate performance works and question the socio-historical contexts provoking those aesthetic and affective developments.

This project investigates the implications of technology on identity in embodied performance, opening up a forum of debate exploring the interrelationship of and between identities in performance practices and considering how identity is formed, de-formed, blurred and celebrated within diverse approaches to technological performance practice.

This book brings together experts across disciplines to examine the connection between digital technologies and human movement, and to consider the creative and artistic possibilities of technologized human motion.

This book reflects on the aftermath of shifts encountered in the maturing of digital culture in areas of critical theory and artistic practices, focusing on the awareness that contemporary subjectivity is one that dwells within both the virtual and the real.

Consisting of critical analyses, theoretical provocations and practical reflections by leading scholars/practitioners from the fields of performance studies, live art and creative technology, these essays examine the rise of intimate performance works and question the socio-historical contexts provoking those aesthetic and affective developments.

This project investigates the implications of technology on identity in embodied performance, opening up a forum of debate exploring the interrelationship of and between identities in performance practices and considering how identity is formed, de-formed, blurred and celebrated within diverse approaches to technological performance practice.