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dc.contributor.authorButucea, Vladen
dc.date.accessioned2021-10-06T08:45:31Z
dc.date.available2021-10-06T08:45:31Z
dc.date.issued2020-05-31
dc.identifierhttps://eresearch.qmu.ac.uk/bitstream/handle/20.500.12289/11510/11510.pdf
dc.identifier.citationButucea, V. (2020) 'Gaming as Everything: Challenging the anthropocene through nomadic performativity', Nordic Theatre Studies, 32(1), pp. 143–158.en
dc.identifier.issn2002-3898en
dc.identifier.issn0904-6380
dc.identifier.urihttps://doi.org/10.7146/nts.v32i1.120413
dc.identifier.urihttps://eresearch.qmu.ac.uk/handle/20.500.12289/11510
dc.descriptionVlad Butucea - ORCID: 0000-0002-4705-1767 https://orcid.org/0000-0002-4705-1767en
dc.description.abstractIn this article I will discuss David O’Reilly’s video game Everything (2017), suggesting that its unique dramaturgy portrays an ecology in which the human is seen as forging alliances and interconnections with the non-human. Set in a seemingly infinite open-world environment, the game revolves around the player exploring vast digital landscapes from the vantage point of multiple nonhuman avatars. Wondering about with no defined goal or direction, I played as animals, plants, rocks, continents, and even galaxies, shifting from one state to the next and making unexpected alliances along the way. Employing Audronė Žukauskaitė concept of “nomadic performativity” (2015), I will suggest that the game’s dramaturgy invites the player to imagine the human as deeply embedded in a wide system of interaction with non-human others, as an immanent part of an ecosystem, rather than a transcendental being outside of it. In articulating this idea, Everything puts forward a theatrical critique of the human domination and othering of the natural environment that underpins and drives the Anthropocene.en
dc.description.urihttps://doi.org/10.7146/nts.v32i1.120413en
dc.format.extent143-158en
dc.language.isoenen
dc.publisherAssociation of Nordic Theatre Scholars
dc.relation.ispartofNordic Theatre Studiesen
dc.rightsThe copyright belongs to the authors and Nordic Theatre Studies. Users can use, reuse and build upon the material published in the journal but only for non-commercial purposes. Users are allowed to link to the files, download the files, distribute the files on a local network (preferably by links), upload the files to local repositories if their institutions require them to do so, but not republish the files without proper agreements with the journal and the author.
dc.rights.urihttps://tidsskrift.dk/index.php/nts/about/submissions#authorGuidelines
dc.subjectNomadic Theatreen
dc.subjectPerformanceen
dc.subjectEcologyen
dc.subjectVideo Gameen
dc.subjectGamingen
dc.subjectEverythingen
dc.subjectAnthropoceneen
dc.subjectDeleuzeen
dc.subjectBraidottien
dc.subjectImmanenceen
dc.subjectDramaturgyen
dc.titleGaming as Everything: Challenging the anthropocene through nomadic performativityen
dc.typeArticleen
dc.description.volume32en
dc.description.ispublishedpub
rioxxterms.typeJournal Article/Reviewen
rioxxterms.publicationdate2020-05-31
refterms.dateFCD2021-10-06
refterms.depositExceptionNAen
refterms.accessExceptionNAen
refterms.technicalExceptionNAen
refterms.panelUnspecifieden
qmu.authorButucea, Vladen
qmu.centreCentre for Applied Social Sciencesen
dc.description.statuspub
dc.description.number1en
refterms.versionVoR
refterms.dateDeposit2021-10-06


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