Liveness for Contemporary Audiences: Developing online-togetherness in metaverse theatre audiences

Simpson, James; Foster, Rory

doi:10.14236/ewic/EVA2022.25

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Liveness for Contemporary Audiences: Developing online-togetherness in metaverse theatre audiences

proceedings-article

Author(s): James Simpson , Rory Foster

Publication date (Print): July 2022

Conference name: Proceedings of EVA London 2022 (EVA 2022)

Conference theme: Use of new and emerging technologies in Digital Art, Data, Scientific and Creative Visualisation, Digitally Enhanced Reality and Everyware, 2D and 3D Imaging, Display and Printing, Mobile Applications, Museums and Collections, Music, Performing arts, and Technologies, Open Source and Technologies, Preservation of Digital Visual Culture, Virtual Cultural Heritage, Ethical Issues, Historical Issues, Digital Culture, Artificial Intelligence, NFTs

Conference date: 4–8 July 2022

Keywords: Liveness, Virtual theatre, Metaverse, Audience reception, Copper candle, Motion capture, Live streaming, Theatrical event

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Abstract

Liveness for Contemporary Audiences: Developing Online-Togetherness in Metaverse Theatre Audiences is a research project owned and carried out by Copper Candle. The project is funded by Innovate UK as part of the Audiences of the Future Round 2 – Design Foundations Fund. Our activities have focused on the experience of making digital/virtual theatre as creative producers of the work. Within this research we are asking, both of ourselves and of the practice, “what do contemporary audiences want?” Or more specifically “what do contemporary audiences want from live digital/virtual theatre?” And where can we look for insight? For us, this is the games industry. Our working assumption is that audiences do want to experience live virtual events, based upon a clear uptake on this offering within the arena of gaming.

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Author and article information

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James Simpson

Rory Foster

Conference

Publication date: July 2022

Publication date (Print): July 2022

Pages: 127-131

Affiliations

[0001]Rose Bruford College

University of East London

48 Silver Lane, West Wickham, UK

[0002]Rose Bruford College

University of East London, 50

Woodleigh Gardens, Streatham, UK

Article

DOI: 10.14236/ewic/EVA2022.25

SO-VID: d9ee5328-a932-40ee-b6b8-7de7c3cbeed5

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2022

Conference acronym: EVA 2022

Conference number:

Conference location: London

Conference date: 4–8 July 2022

Conference sponsor: Electronic Workshops in Computing (eWiC)

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2022.25

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

L. Ambalina (2021) How Fortnite became the Modern-Day Community Center. https://hackernoon.com/howfortnite-became-the-modern-day-community-center-dse2376n Accessed on 08/02/2022.
P. Auslander (1999) Liveness: Performance in a Mediatized Culture. Routledge.
P. Auslander (2011) Digital Liveness: Philip Auslander (US) About Digital Liveness in Historical, Philosophical Perspective. https://vimeo.com/20473967 Accessed on 28/02/2022.
C. Baugh (2013) Theatre, Performance and Technology: The Development and Transformation of Scenography. Bloomsbury Publishing.
J.D. Bolter, and R.A. Grusin (2000). Remediation: Understanding New Media. MIT Press.
D. Bormann, and T. Greitemeyer (2015) Immersed in Virtual Worlds and Minds: Effects of In-Game Storytelling on Immersion, Need Satisfaction, and Affective Theory of Mind. Social Psychological and Personality Science. https://doi.org/10.1177/1948550615578177.
S. Dixon (2020) Digital Performance: A History of New Media in Theater, Dance, Performance. MIT Press. London.
E. Grundhauser (2021) How ‘Live’ Is Live TV? – Atlas Obscura. https://www.atlasobscura.com/articles/how-live-is-live-tv Accessed on 10/03/2022.
M. Maiese (2011) Embodiment, Emotion, and Cognition. Embodiment, Emotion, and Cognition. Palgrave Macmillan UK. https://doi.org/10.1057/9780230297715.
N. Masura (2020) Digital Theatre: The Making and Meaning of Live Mediated Performance, US \& UK 1990-2020. Palgrave Studies in Performance and Technology. Springer International Publishing. https://books.google.co.uk/books?id=F4gEEA AAQBAJ.
J.H. Murray (1997) Hamlet on the Holodeck: The Future of Narrative in Cyberspace. MIT Press
P. Phelan (1993) Unmarked: The Politics of Performance. Routledge.
J. Simpson (2021) Live and Life in Virtual Theatre: Adapting Traditional Theatre Processes to Engage Creatives in Digital Immersive Technologies. In Electronic Visualisation and the Arts, {EVA} 2021, London, UK, July 5-9, 2021, edited by Jon WeinelJonathan P BowenAnn Borda, and Graham Diprose. Workshops in Computing. BCS. https://doi.org/10.14236/ewic/EVA2021.17.
K. Van Es (2017) The Future of Live. Polity Press Cambridge.
P. Weishar (1998) Digital Space: Designing Virtual Environments. McGraw-Hill.

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[1] L. Ambalina (2021) How Fortnite became the Modern-Day Community Center. https://hackernoon.com/howfortnite-became-the-modern-day-community-center-dse2376n Accessed on 08/02/2022.

[2] P. Auslander (1999) Liveness: Performance in a Mediatized Culture. Routledge.

[3] P. Auslander (2011) Digital Liveness: Philip Auslander (US) About Digital Liveness in Historical, Philosophical Perspective. https://vimeo.com/20473967 Accessed on 28/02/2022.

[4] C. Baugh (2013) Theatre, Performance and Technology: The Development and Transformation of Scenography. Bloomsbury Publishing.

[5] J.D. Bolter, and R.A. Grusin (2000). Remediation: Understanding New Media. MIT Press.

[6] D. Bormann, and T. Greitemeyer (2015) Immersed in Virtual Worlds and Minds: Effects of In-Game Storytelling on Immersion, Need Satisfaction, and Affective Theory of Mind. Social Psychological and Personality Science. https://doi.org/10.1177/1948550615578177.

[7] S. Dixon (2020) Digital Performance: A History of New Media in Theater, Dance, Performance. MIT Press. London.

[8] E. Grundhauser (2021) How ‘Live’ Is Live TV? – Atlas Obscura. https://www.atlasobscura.com/articles/how-live-is-live-tv Accessed on 10/03/2022.

[9] M. Maiese (2011) Embodiment, Emotion, and Cognition. Embodiment, Emotion, and Cognition. Palgrave Macmillan UK. https://doi.org/10.1057/9780230297715.

[10] N. Masura (2020) Digital Theatre: The Making and Meaning of Live Mediated Performance, US \& UK 1990-2020. Palgrave Studies in Performance and Technology. Springer International Publishing. https://books.google.co.uk/books?id=F4gEEA AAQBAJ.

[11] J.H. Murray (1997) Hamlet on the Holodeck: The Future of Narrative in Cyberspace. MIT Press

[12] P. Phelan (1993) Unmarked: The Politics of Performance. Routledge.

[13] J. Simpson (2021) Live and Life in Virtual Theatre: Adapting Traditional Theatre Processes to Engage Creatives in Digital Immersive Technologies. In Electronic Visualisation and the Arts, {EVA} 2021, London, UK, July 5-9, 2021, edited by Jon WeinelJonathan P BowenAnn Borda, and Graham Diprose. Workshops in Computing. BCS. https://doi.org/10.14236/ewic/EVA2021.17.

[14] K. Van Es (2017) The Future of Live. Polity Press Cambridge.

[15] P. Weishar (1998) Digital Space: Designing Virtual Environments. McGraw-Hill.

Celebrating 65 years of The Computer Journal - free-to-read perspectives - bcs.org/tcj65

Liveness for Contemporary Audiences: Developing online-togetherness in metaverse theatre audiences

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