Attribution 4.0 International (CC BY 4.0)Mastrominico, Bianca2023-08-102023-08-102023-07-312022-10-14Mastrominico, B. (2023) ‘Home-specific performance and the digital staging of the domestic in Flanker Origami’, International Journal of Performance Arts and Digital Media, 19(3), pp. 424–444. Available at: https://doi.org/10.1080/14794713.2023.2239693.https://eresearch.qmu.ac.uk/handle/20.500.12289/13394https://doi.org/10.1080/14794713.2023.2239693From Crossref journal articles via Jisc Publications RouterHistory: received 2022-10-14, accepted 2023-07-15, epub 2023-07-31, issued 2023-07-31, published 2023-07-31Article version: VoRPublication status: PublishedFunder: Queen Margaret University; FundRef: https://doi.org/10.13039/10.13039/100010033Bianca Mastrominico - ORCID: 0000-0002-6827-7247 https://orcid.org/0000-0002-6827-7247This paper discusses home as a stage and its intersection with new technologies through an autoethnographic recollection and analysis of practice research, whose processes and methods are entangled with both digital and domestic environments on the virtual stage of Flanker Origami, a live online performance on Zoom devised by Organic Theatre. Premiered as part of the digital programme of the Edinburgh Festival Fringe 2021, the performance is discussed as a case study of shifts in practice driven by the COVID19 pandemic in the real home of the two devisers/performers. This enquiry introduces and discusses home-specific performance as a practice research methodology, which exploits the deep nexus between home, identity and gender in the digital staging of the domestic in Flanker Origami. Analysing online training, hybrid scenography and digital performativity specific to the performers’ home, this practice-based investigation evaluates the benefits and challenges of developing online theatre in a situation of social confinement. The conclusion evidences that home as a digital stage was instrumental in reconfiguring notions of self and authenticity in performance processes driven by the pandemic, while creatively reframing the familiar and the domestic to expand and innovate artistic practice at a critical point of social and personal vulnerability.424-444Licence for VoR version of this article starting on 2023-07-31: http://creativecommons.org/licenses/by/4.0/© 2023 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The terms on which this article has been published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent.http://creativecommons.org/licenses/by/4.0/Visual Arts and Performing ArtsCommunicationarticle2023-08-10