Scene, Screen and computers

Objectives

Becoming familiar with the state of the art in terms of practices that emerge from the intersection of artistic fields expressed in the theatrical scene, the screen and with computer technology.
Understanding the relation between the techniques and technologies and the making and presentation of the performing arts involved, as well as different purposes of practices with screens and computers.
Relating the practices with theories about digital performance, mediatization, aesthetic movements and interactivity.
Contextualizing works and authors within the themes of contemporary culture, considering the pollical and socioeconomical context of information and communication societies.

General characterization

Code

02113277

Credits

10.0

Responsible teacher

Paula Gouveia Varanda

Hours

Weekly - 3

Total - 280

Teaching language

Portuguese

Prerequisites

N/A

Bibliography

  • Auslander, P., 2008. Liveness: Performance in a Mediatized Culture 2nd ed., Routledge.
  • D. Bell & B. M. Kennedy, eds, 2000. The Cybercultures Reader. Routledge.
  • Birringer, J.H., 2008. Performance, technology, & science, PAJ.
  • Broadhurst, S. & Machon, J. eds., 2012. Identity, Performance and Technology: Practices of Empowerment,
  • Embodiment and Technicity, Palgrave.
  • Dekker, A. 2018. Collecting and Conserving Net Art : Moving Beyond Conventional Methods.
  • Dixon, S., 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation, MIT.
  • Dodds, S., 2001. Dance on Screen. Palgrave.
  • Giannachi, G., 2004. Virtual Theatres, Routledge.
  • Kwastek, K. 2013. Aesthetics of Interaction in Digital Art. MIT Press.
  • Mitoma, J. ed., 2002. Envisioning Dance on Film and Video: Routledge.
  • Popper, F., 2007. From Technological to Virtual Art; MIT
  • Sant, T. 2017. Documenting performance: the context and processes of digital curation and archiving.

Teaching method

Lecturing by the professor is combined with practicing interpretation of texts and works, exercicing argumentation in the classroom and the participation of all students, stimulating oral presentations and debates. Bibliographic and audiovisual resources are introduced and used, with collective viewing or individual research and, if possible, two field visits to cases in Lisbon.

Evaluation method

Continuous Assessment - Evidence, orally demonstrated, of analysis and presentation skils about a dance piece, using audiovisuals (group work)(30%), Participation in class, assessed by quality and quantity of interventions in debates, collective readings or other contributions by the students (30%), Project portfolio (4000 words) conceived upon de references provided in creative, conceptual and technological levels, presented in wirtten form with illustrations and pictures (40%)

Subject matter

Scene dispositive and codes, conventions and disruptions in regard to documentation, creation and presentation of practices that originate with the crossings with screens and computers.
Screen dispositive and implications in scenic practices, either integrally transferred (cinema, TV, desktop or smartphone displays) or bringing the screen into the scene with concert performance or installations.
New Technologies and possibilities and pathways for dance, performance, theatre with new media and computer processing: telepresence, intelligent stages, interactivity and participation, networked performance, augmented reality, cyberspace and robotics.
Concepts framing the use, creation and reception of these interrelated media in order to expand the analysis of this corpus.
Conundrums and deconstruction: disembodiment, anthropomorphs, surveillance, remediation, presence, liveness, reproduction, authorship, skils and venue framework.

Programs

Programs where the course is taught: