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dc.rights.licenseCreative Commons Attribution 4.0 International License (CC-BY 4.0)
dc.contributor.authorMastrominico, Bianca
dc.contributor.authorde Roza, Elizabeth
dc.date.accessioned2021-12-14T11:32:49Z
dc.date.available2021-12-14T11:32:49Z
dc.date.issued2022-02-14
dc.identifier.citationMastrominico, B. and de Roza, E. (2022) ‘A shift towards digital and participatory performance practice post-pandemic’, Body, Space & Technology, 22(1).
dc.identifier.issn1470-9120
dc.identifier.urihttps://eresearch.qmu.ac.uk/handle/20.500.12289/11655
dc.identifier.urihttps://doi.org/10.16995/bst.8047
dc.descriptionFrom Crossref journal articles via Jisc Publications Router
dc.description.abstractThis perspective analyses and reflects upon the experience of conceiving, curating and participating in Bodies:On:Live Magdalena:On:Live, the first online multi-platform Magdalena Festival, bringing together digitally competent artists with creative roots in the immateriality of the internet, in dialogue about current shifts in performance making with performers, writers, and directors declaring their uneasiness towards online adaptations of live work. As part of the global reaction to the standstill brought about by the Covid pandemic, we argue that shifts in practice for women in contemporary theatre associated with the Magdalena network – whether as an attempt for immediate artistic survival or a conscious experimental choice – were not exclusively determined by the available sharing of technical knowledge, or by the need to increase awareness of the digital medium in order to gain experience of different working modalities, but served a participatory and social purpose. These conditions were surfacing due to the digital space manifesting as a specific format of gathering through the Zoom windows and other platforms, which framed the encounters within a democratic performance arena, making the boundaries between participation and spectatorship porous. Therefore, the shift provoked by the festival not only pertains to the aesthetic sphere, but it is dynamically and organically geared towards the recognition of new working contexts arising from the unsettling experience of ‘disembodiment’ – as an ontological paradox of the original in-person Magdalena festival - and the embedded argument of the creative use of new technologies for a more sustainable and accessible future of performance making, both live and digital.
dc.publisherOpen Library of Humanities
dc.relation.ispartofBody, Space & Technology
dc.rights.urihttp://creativecommons.org/licenses/by/4.0/
dc.subjectFestival
dc.subjectOnline
dc.subjectDigital
dc.subjectNew Technologies
dc.subjectDigital Practice
dc.titleA shift towards digital and participatory performance practice post-pandemic
dc.typeArticle
dcterms.accessRightspublic
dcterms.dateAccepted2021-11-01
dc.date.updated2021-11-10T02:07:16Z
dc.description.volume22
dc.description.ispublishedpub
rioxxterms.publicationdate2022-02-14
refterms.dateFCD2022-02-14
refterms.depositExceptionpublishedGoldOA
qmu.authorMastrominico, Bianca
qmu.centreCentre for Communication, Cultural and Media Studies
dc.description.statuspub
dc.description.number2
refterms.versionVoR
refterms.dateDeposit2022-02-14


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