Gabriella Giannachi ist Professorin für Performance und neue Medien und Leiterin des Centre for Intermedia an der University of Exeter. Sie ist (zusammen mit Steve Benford) Co-Autorin von Performing Mixed Reality (MIT Press). Ihre Arbeit konzentriert sich auf die Schnittstelle von Performance, Technologie und neuen Medien und untersucht, wie digitale Umgebungen künstlerischen Ausdruck und Zuschauererfahrung verändern. Giannachi befasst sich mit den theoretischen und praktischen Aspekten interaktiver und immersiver Kunstformen und erweitert damit die Grenzen der zeitgenössischen Kunst.
Exploring the intersection of contemporary performance and new media, this work delves into how these innovations reshape our perceptions and experiences of presence. It examines the evolving practices and engagements that arise from the integration of live and simulated elements, offering insights into the complexities of performance in the digital age.
Focusing on the intersection of new media theatre and political activism, this book delves into how new media arts emerge as a radical political movement. Gabriella Giannachi examines the impact of virtuality on performance and the political implications of virtual and mixed reality practices. By analyzing significant political, philosophical, and artistic texts and artworks, the work positions itself as a crucial resource for those interested in the dynamics of technology, theatre, and politics.
In the 1970s and early 1980s, the emergence of the Italian theatrical post-avant-garde marked a watershed in the development of experimental performance. In its vital mix of aesthetic experimentalism and philosophical and political engagement, the work of directors such as Federico Tiezzi, Mario Martone, Giorgio Barberio Corsetti, and Romeo Castellucci confronted the ubiquitous influence of North American art, performance, and popular culture, while challenging and transforming the European theatrical avant-garde. This book provides the first full-length English-language study of the emergence and development of this work, its theoretical underpinning, and its impact on contemporary performance theory and practice. In detailed and illustrated analyses of performances by key companies including Magazzini Criminali, Nobili di Rosa/Falso Movimento, Gaia Scienza/Compagnia Teatrale di Barberio Corsetti, and Socìetas Raffaello Sanzio, this book sets out the post-avant-garde’s highly rigorous engagement with concepts of the real , contemporary urban experience, the nature of mass media, and visual and performance art. The book concludes with an exploration of performance by a new generation of companies who have extended this post-avant-garde practice in performances engaging with the aesthetics of theatre, film and new technologies, including Motus, Masque, Teatrino Clandestino, Fanny and Alexander and Egumteatro.
Exploring the intersection of theatre, performance, and digital arts, this groundbreaking book delves into the evolving landscape of twenty-first-century theatre, where simulation extends to every element, including the audience. It offers a comprehensive investigation into how technology reshapes theatrical experiences and challenges traditional notions of performance, making it a vital resource for understanding contemporary artistic practices.
The profession of directing is barely a century old. On Directing considers the position of the director in theater and performance today. What is a director? How do they begin work on a play or performance? What methods are used in rehearsal? Is the director an enabler, a collaborator or dictator? As we enter the new millennium, is the very concept of directing under increasing threat from changes in thinking and practice? The full diversity of today's approaches to directing are explored through a series of interviews with leading contemporary practitioners. On Directing is a landmark book about the director's craft.