Messaging in the noosphere: theatre art, integrated media, and human-comupter interaction

Bibliography: p. 188-19

A new map of Hollywood and the world

In this paper, I offer a reinterpretation of the economic geography of the so-called new Hollywood. The argument proceeds in six main stages. First, I briefly examine the debate on industrial organization in Hollywood that has gone on in the literature since the mid-1980s, and I conclude that the debate has become unnecessarily polarized. Second, I attempt to show how an approach that invokes both flexible specialization and systems-house forms of production is necessary to any reasonably complete analysis of the organization of production in the new Hollywood. Third, and on this basis, I argue that the Hollywood production system is deeply bifurcated into two segments comprising (a) the majors and their cohorts of allied firms on the one hand, and (b) the mass of independent production companies on the other. Fourth, I reaffirm the continuing tremendous agglomerative attraction of Hollywood as a locale for motion-picture production, but I also describe in analytical and empirical terms how selected kinds of activities seek out satellite production locations in other parts of the world. Fifth, I show how the majors continue to extend their global reach by means of their ever more aggressive marketing and distribution divisions, and I discuss how that this state of affairs depends on and amplifies the competitive advantages of Hollywood. Sixth and finally, I reflect upon some of the challenges that Hollywood must face up to as new cultural-products agglomerations arise all over the globe, offering potential challenges to its hegemony. Key words: motion-picture industry; cultural economy; Hollywood; agglomeration; regional development; globalization

Smart Concerts: Orchestras in the Age of Edutainment

Provides a summary of the recent shift in concert programming, and discusses four strategies for enhancing the concert experience: contextual programming, dramatization of music, visual enhancements, and embedded interpretation

The Industry and the Unions: An Overview

[Excerpt] This overview chapter provides a framework for the chapters that follow by broadly describing the arts, entertainment, and electronic media (AEEM) industry and the problems confronting it. The overview is presented in four sections focused on: first, the economic structure of the industry; second, unions and bargaining structure; third, the impact of technological changes; and fourth, historical responses on the part of unions and the labor relations system to technological change

The other side of the curtain: The power and the potential of performance in public spaces

This research study develops a greater understanding of alternative opportunities for performance majors extending beyond traditional theatre venues. The emphasis of this study is the use and application of environmental entertainment. The study examines and synthesizes the skill set, as defined by known executives and decision makers in the entertainment industry who are regularly utilizing the services of environmental entertainers. The resultant data reveals qualities required to successfully gain entrance to and maintain a career as an environmental entertainer

Projected performances: the phenomenology of hybrid theater

Throughout the 20th century, mediatized forms gained prominence and eclipsed the theater as a site of cultural power and popularity. Because of this tension, performance theorists like Peggy Phelan framed the definition of theater through its inherent differences from film and television. Other theorists like Philip Auslander problematized this distinction, particularly due to television’s similarities to live performance. The cinema, however, has remained an opponent to performance, ignored in favor of technologies that more readily promote a sense of “liveness.” In Projected Performances, I argue that film projection is more closely related to performance than previously thought, particularly when viewed in light of their phenomenological similarities. Projection is a live act that generates a kind of presence that approximates what is felt with a live performer. The theatrical setting of most film viewings foregrounds this phenomenological frame, despite the prerecorded nature of the content. Despite the seemingly static nature of film, the exhibition of it is most often decidedly theatrical. Hybrid theater, in which productions incorporate film projection alongside live performers, highlights these similarities in a much more explicit way, creating a unique sensory experience. This blending of effects is evident in theatrical broadcasts like the Metropolitan Opera’s “Live in HD” series, which capitalizes on the liveness of theater to draw people to the cinema. I also investigate hybrid productions that use projected scenery, such as The Woman in White and The Elephant Vanishes, as well as productions that feature projected bodies, like the work of Lemieux.Pilon 4d Art. Finally, I interrogate the use of projections in the monumental spectacles of the opening ceremonies at the 2008 and 2010 Olympics in Beijing and Vancouver, respectively.Throughout, I examine the ways in which these hybrid productions trouble the assumed distinction between performance and media, demonstrating that projection is a kind of performance that can share the stage with live performers without damaging the unique essential qualities of theater

Cyber-Theater as Another Dimension of Communication in Contemporary Performing Arts

The relevance of this study is due to the expansion of various concepts of cyber-theater in the contemporary performing arts. The examples of the stage embodiment of cyber-drama and digital-performances prove that each stage work raises extraordinary artistic issues, and each technological innovation is accompanied by the emergence of the new audience opportunities and competencies. However, due to the fact that communication between the creators of the super-modern stage content and the ordinary viewers currently isn’t sufficiently arranged, there are gaps in the perception of the artistic messages, difficulties with the audience’s empathy for the events and actors of cyber-drama and digital-performance. The authors aimed to explore the communication barriers associated with cyber-theater performances and to present ways to solve problems in this context. The following methods were used: complex analysis and synthesis, comparative and descriptive methods, technique of communicative approach. Peculiarities of creating cyber-drama and organization of digital-performance are revealed, similarity, difference and interdependence of their means of expression are characterized. The tendencies of further development of cyber-theater and cooperation between its creators and the audience are determined. Various studies in the field of creative industry on the impact of the effectiveness of the audience’s perception of cyber-theater performance are analyzed. As the results of the research, the emblematic digital-performances of the 2010s are described, the effectiveness of various artistic proposals at this stage and possible directions for further development of the industry are determined