Re: [-empyre-] networked_performance 2

it's something lots of proximal performances don't manage to capture either ; ) presence - the holy grail of theatre ... how to create it when you're not even in the same hemisphere as your audience? i know that we've achieved it - sometimes - but i don't profess to know the magic formula.

one thing we've learned is to make it clear that it's live, so the audience knows they are occupying the same time-space as the performers. interaction, response, typos, lag, glitches, technical hitches, mistakes - all of these contribute to the liveness. live work is so much more risky than prerecorded, but if it's indistinguishable from prerecorded, then it can lose that energy.

interaction is something that people expect & hunger for in the online world, unlike theatre audiences who often shrink from "audience participation". we've found that when we create a role for the audience, they grab it & run with it. they don't even define themselves as audience, they perceive themselves as an integral part of the performance. the presence is definitely there in those situations. the work is not complete until the audience enters into it.

(another) helen : )

lucio, helen, michelle, greetings
i would like to ask, in relation to liveness, the role of the audience in
adding to a live performance.
how does one capture that energy that builds through a performance, in the
exchanges between performer and audience, that ultimately impact on the
performer and performance?
that energy is something that even a video recording doesn't actually
capture, that presence in the atmosphere around you of a certain something,
non-physical but present, that you feel moving back and forth from audience
to performer.


komninos zervos
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helen varley jamieson: creative catalyst

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