Contemporary theatre and the experiential

In the context of the blurring of boundaries between club and theatre, game and theatre, and party and theatre, experiential spectatorship is spilling into the mainstream. This article starts from the recognition of the rapid rise of the experience economy as a turning point in consumer culture towards a specific appeal to the sensory body. The definition of experience in this analysis is key and a distinction is made between experience as it passes moment by moment, erlebnis, and experience as something that is cumulatively built up over time, erfahrung. This paper asks, in a society defined by the crisis of experience, does this rise of the experiential in theatre simply reflect the reduction of experience to a series of consumable sensory moments or is there a mode of experience modelled through performance interaction which moves both beyond this established mode of experience and also beyond the notion of experience as cumulatively formed wisdom (erfahrung)? Drawing a parallel between established popular cultural practices of the body and those of the spectator in spectacular promenade performance, Fuerzabruta is used as an illustrative example of popular experiential performance and Hwang’s The Road as an example of experiential performance in which a transformative aesthetic is made possible

GlobalFestival: Evaluating Real World Interaction on a Spherical Display

Spherical displays present compelling opportunities for interaction in public spaces. However, there is little research into how touch interaction should control a spherical surface or how these displays are used in real world settings. This paper presents an in the wild deployment of an application for a spherical display called GlobalFestival that utilises two different touch interaction techniques. The first version of the application allows users to spin and tilt content on the display, while the second version only allows spinning the content. During the 4-day deployment, we collected overhead video data and on-display interaction logs. The analysis brings together quantitative and qualitative methods to understand how users approach and move around the display, how on screen interaction compares in the two versions of the application, and how the display supports social interaction given its novel form factor

Bringing bodies back in: for a phenomenological and psychoanalytic film criticism of embodied cultural identity

This article reassesses the concept of identification in line with the increased importance phenomenology has taken on in film-philosophy of the 1990s and 2000s. In the 1970s and 1980s, a Lacanian psychoanalytic interpretation of identification dominated film theory and criticism, and spectatorial engagement with elements of films was understood as what psychoanalysis calls secondary identification – the identification with stable subject-positions (characters) in the film-text. But non-Lacanian psychoanalysis and Merleau-Ponty’s existential phenomenology offer film-philosophy a very different understanding of identification as a non image-based, ‘blind’, bodily affective tie that is established between spectators and what Vivian Sobchack describes as ‘the sense and sensibility of materiality itself’ (Sobchack 2004, 65). By first exploring how this more bodily (for psychoanalysis, primary) identification is theorized by psychoanalysts (Freud, Paul Schilder, Henri Wallon) and by film theorists (Kaja Silverman), the article proposes that film criticism make greater use of it in order to engage more meaningfully with the visible cultural specificities – size, skin colour, age, sex – of the images of bodies viewed on cinema screens. It is not just ‘the’ body that needs bringing back into thinking about film spectatorship, but culturally differentiated bodies, both on the screen and in the auditorium. A psychoanalytic and phenomenological film criticism of embodied cultural identity, one that attends to the materiality of the film and of the body-images and objects on the screen, may be the most culturally and politically useful successor to ‘screen’ theory of the 1970s and 1980s

Dear Jacques ... Lecoq in the twenty first century

This essay considers Jacques Lecoq's influence almost 20 years after his death. Arguing that Lecoq's pedagogy is largely as relevant today as it was when he was still alive, the author speculates whether Lecoq would have welcomed developments in the use of digital technology within live performance. The essay proposes that much of Lecoq's teaching with its emphasis on play, complicite, invention, imagination and the creative actor remains relevant to contemporary developments in site-specific, immersive and postdramatic theatre. The essay is constructed in the form of a posthumous letter to Jacques Lecoq

Illuminating the Spectre

As video game streaming increases in popularity, the number of viewers spectating these streams has also increased. However, even while streaming seeks to develop more methods to include viewer participation, spectators are often viewed as passive or in the “backseat.” In this paper I focus on findings from the development and play of a software overlay that allows spectators to control what parts of the screen are visible to them. I argue that the labor of spectating not only generates valuable knowledge, but can be encouraged and highlighted without turning spectators into players

Motor simulation without motor expertise: enhanced corticospinal excitability in visually experienced dance spectators

The human “mirror-system” is suggested to play a crucial role in action observation and execution, and is characterized by activity in the premotor and parietal cortices during the passive observation of movements. The previous motor experience of the observer has been shown to enhance the activity in this network. Yet visual experience could also have a determinant influence when watching more complex actions, as in dance performances. Here we tested the impact visual experience has on motor simulation when watching dance, by measuring changes in corticospinal excitability. We also tested the effects of empathic abilities. To fully match the participants' long-term visual experience with the present experimental setting, we used three live solo dance performances: ballet, Indian dance, and non-dance. Participants were either frequent dance spectators of ballet or Indian dance, or “novices” who never watched dance. None of the spectators had been physically trained in these dance styles. Transcranial magnetic stimulation was used to measure corticospinal excitability by means of motor-evoked potentials (MEPs) in both the hand and the arm, because the hand is specifically used in Indian dance and the arm is frequently engaged in ballet dance movements. We observed that frequent ballet spectators showed larger MEP amplitudes in the arm muscles when watching ballet compared to when they watched other performances. We also found that the higher Indian dance spectators scored on the fantasy subscale of the Interpersonal Reactivity Index, the larger their MEPs were in the arms when watching Indian dance. Our results show that even without physical training, corticospinal excitability can be enhanced as a function of either visual experience or the tendency to imaginatively transpose oneself into fictional characters. We suggest that spectators covertly simulate the movements for which they have acquired visual experience, and that empathic abilities heighten motor resonance during dance observation

Dance and emotion in posterior parietal cortex: a low-frequency rTMS study

Background: The neural bases of emotion are most often studied using short non-natural stimuli and assessed using correlational methods. Here we use a brain perturbation approach to make causal inferences between brain activity and emotional reaction to a long segment of dance. <p>Objective/Hypothesis: We aimed to apply offline rTMS over the brain regions involved in subjective emotional ratings to explore whether this could change the appreciation of a dance performance.</p> <p>Methods: We first used functional magnetic resonance imaging (fMRI) to identify regions correlated with fluctuating emotional rating during a 4-minutes dance performance, looking at both positive and negative correlation. Identified regions were further characterized using meta-data interrogation. Low frequency repetitive TMS was applied over the most important node in a different group of participants prior to them rating the same dance performance as in the fMRI session.</p> <p>Results: FMRI revealed a negative correlation between subjective emotional judgment and activity in the right posterior parietal cortex. This region is commonly involved in cognitive tasks and not in emotional task. Parietal rTMS had no effect on the general affective response, but it significantly (p<0.05 using exact t-statistics) enhanced the rating of the moment eliciting the highest positive judgments.</p> <p>Conclusion: These results establish a direct link between posterior parietal cortex activity and emotional reaction to dance. They can be interpreted in the framework of competition between resources allocated to emotion and resources allocated to cognitive functions. They highlight potential use of brain stimulation in neuro-æsthetic investigations.</p&gt

Hovering on Screen: The WOW-Affect and Fan Communities of Affective Spectatorship on So You Think You Can Dance

In this article I argue that the television dance franchise So You Think You Can Dance fosters and encourages what I call affective viewing practices and communities of affective spectatorship, which are specifically related to the "WOW-affect" created by its affective bodies. I use the term 'affect' to indicate the relationship between screens, athletic/virtuosic bodies, sound, and movement as one of excessive stimulation, resulting in intensities, or affects, which are circulated between screens and bodies as particular moments of suspense. In this sense, affect can be located in the gap between the impact of a stimulation on the skin-surface and a more coherent, cognitive response to this stimulation. The WOW as an utterance in relation to the athletic/virtuosic screen bodies and their affective impact gives voice and physical expression to the excess of intensities as a not-yet-cognitive suspended response. The notion of the WOW-affect, combining the utterance with a specific affective impact, is closely linked to the vaudeville show aesthetics of using an intensely spectacular movement series at the end of a routine to 'stop the show' by stunning the audience and suspending their reaction for a brief moment in time. Hence, the WOW-affect is a particular reaction to the experience of movement.&nbsp

Media Witnessing: Exploring the Audience of Distant Suffering

This article aims at demonstrating the relevance of the concept of ‘media witnessing’ as an analytical lens for the study of audience engagement with media reports of distant suffering. Drawing upon existing theoretical work on the concept, the article approaches media witnessing as a distinct modality of audience experience and constructs an analytical framework for its study. Applying this framework on an empirical study of Greek audiences, the article provides a typology of witnessing, consisting of four different types of audience engagement with media stories of human suffering. This typology illustrates the complexities inherent in the practice of watching suffering on television, as well as the limitations of mediated cosmopolitan imagination