1st Edition
Routledge Companion to Performance and Technology
Acknowledgements
Contributors Biography
Introduction
Chapter 1: Postdigital Performance by Matthew Causey
Chapter 2: Texts and Contexts by Sarah Bay-Cheng, Jennifer Parker-Starbuck and David Saltz
Chapter 3: Intermediality in Theatre and Performance by Chiel Kattenbelt
Chapter 4: László Moholy-Nagy’s “Theatre of Totality” by Sue Broadhurst
Chapter 5: The Digital Double by Steve Dixon
Chapter 6: The Co-Evolution of Performance and Technology by Sally Jane Norman
Chapter 7: Soulcraft Theorizing Black Techne in African and American Viral Dance by Reginold A. Royston
Chapter 8: Robots on Stage in Contemporary Performance by Elizabeth Jochum
Chapter 9: Algorithmic Theater Then and Now by Annie Dorsen and Tom Seller
Chapter 10: Proscenium as Temporary Shelter by Catherine M. Cole
Chapter 11: Performing ‘Art and Technology’ in Cold War America by Douglas Eacho
Chapter 12: Performance After Automation by Nicholas Ridout
Chapter 13: Dancing and Cameras by Bill T. Jones
Chapter 14: Choreographing Technology, A Dialog with Bebe Miller
Chapter 15: Animate: XR, Bodies, and the Future of the Stage by Timothy Thomasson and Chris Salter
Chapter 16: Body and Shado: Contingent Transformations of Light on Stage by Katherine Graham
Chapter 17: On The Notion of Verticality in Dramaturgy by Jörgen Dahlqvist
Chapter 18: Invisible Performers: Sonic Ghosts, an Acousdramatic Approach, and the Transformative Potential of Digital Audio Technology in Theater by Kent Olofsson
Chapter 19: Feminist Unboxing: A Critical Approach toward Incorporating Digital Technologies into Creative and Scholarly Work by Jessica J. Rajko
Chapter 20: Post‑Colonial Güícharo Robots and the Complexities of Sense‑Making in Performance and Technology: A Dialog with Yanira Castro by Norah Zuniga Shaw
Chapter 21: The Non-Linearity of Technical Production in the Performing Arts by Ashley Ferro-Murray
Chapter 22: Headphone Theater and the Performance of Perception by Rosemary Klich
Chapter 23: Choreoauratic Frequencies: Tuning in to Headphonic Encounters from Aotearoa by Becca Wood
Chapter 24: The Spectatorial Body in Multimedia Performance: The London International Festival of Theatre (Lift) 2010 by Jennifer Parker-Starbuck
Chapter 25: But How Will They Know It’s Live? Anonymous Ensemble’s Virtual Performances by Jessica Del Vecchio and Eammon Farrell
Chapter 26: The Digital Double as a Choreographic Technique: The Splitting Magic on Screens by Suparna Banerjee
Chapter 27: Dramaturgy of Technological Absence: Tim Crouch’s Truth’s a Dog Must to Kennel by Seda Ilter
Chapter 28: The Cyborg-Apparatus Continuum. or, how the question concerning technology has twisted and turned by Kristof van Baarle
Chapter 29: Access, Performance, Technology: Engaging with the Omissions of a Past Creative Self by Alice Sheppard
Chapter 30: Utterances of Global Futurisms by Bhumi B Patel
Chapter 31: Performing Telepresence: Technology and Coloniality in Choy Ka Fai’s Postcolonial Spirits (2021) by Evelyn Wan
Chapter 32: The Ear That Speaks by Eddie Paterson and Lara Stevens
Chapter 33: Critical Techno-dramaturgy: Mobilizing Embodied Perception of the Human‑Technology Relationship in Performance by Stephen Fernandez
Chapter 34: The Theatricality of Mindar, Kōdai-ji Temple’s Android Buddhist Priest by Yuji Sone
Chapter 35: Technologies of Community: Digital Portraits in Black Dance by Thomas F. Defrantz
Chapter 36: Cultural Dreams of Datafied Bodies: Motion Capture as a Technological Imaginary by Laura Karreman
Chapter 37: “In the Half‑ight”: Phenomenological Approaches to Complex Technological Systems by Susan Kozel
Chapter 38: Landing and Dispersing at the Same Time: Embodied Awareness in Virtual and Physical Spaces by Ruth Gibson and Jenny Roche
Chapter 39: Attending to the Dandelions: Social Movement Building through Participatory Arts Practice by Lyndsey Vader
Chapter 40: Black Haptics by Andre M. Zachery
Chapter 41: Performance as an act of Generosity: Sharing Aboriginal Stories through Drone Dramaturgy in Moombaki by Christina Chau and Helena Grehan
Chapter 42: Technopoetics of Togetherness: Live Performance before the End of the World by Marcela A. Fuentes
Chapter 43: The Politics of Performance and Technology in South Africa Jay Pather in dialog with Norah Zuniga Shaw and with contributions from Dr. Ketu Katrak
Chapter 44: Addenda, Phenomenology, Embodiment: Cyborgs and Disability Performance by Petra Kuppers
Chapter 45: Blast Theory’s Karen: Reharnessing the New Digital Specificities of a Hyperindustrial World by Neill O'Dwyer
Chapter 46: A Bed of One’s Own: (In)Voluntary Choices of Disengagement in Digital Performance Environments by Eirini Nedelkopoulou
Chapter 47: The Sublime Grandeur of Inconsequential Death by Kate Ladenheim
Chapter 48: Performing Counterhistory: The Ghostly Archives of Summer of Soul by Gabriela Trigo-McIntyre
Chapter 49: Archives of Care by Gesel R. Mason, Rebecca Salzer, and Carlson H. Coogler
Chapter 50: Critical Multimedia Editions for Theater Research by Miguel Escobar Varela
Chapter 51: Evolving Practices of Choreographic Transmission for the Screen and Beyond by Shannon Cuykendall
Chapter 52: Playing at Performance: Dance Games and Intimate Media by Kiri Miller
Chapter 53: Steps by Paul Kaiser
Chapter 54: Just Moves?: Motion Extraction, Machine Learning, and the Generative Derivative in Dance By Harmony Bench
Chapter 55: TikTok and Short-Form Screendance Before and After COVID by Alexandra Harlig and Harmony Bench with Crystal Abidin, Trevor Boffone, Kelly Bowker, Colette Eloi, Pamela Krayenbuhl and Chuyun Oh
Chapter 56: Data Drama: How Machine Audiences Reprogram Theater by Sarah Bay-Cheng with contributions from Mariel Marshall and Daniela Rosu
Index
Biography
Maaike Bleeker is a Professor of Performance, Science and Technology in the Department of Media and Culture Studies at Utrecht University and Director of the Research Institute for Cultural Inquiry.
Norah Zuniga Shaw is Professor and Director for Dance and Technology at the Advanced Computing Center for the Arts and Design (ACCAD) and Department of Dance at The Ohio State University.
