1. Pre study about Performance Design:
Theatre and performance studies, fine art, philosophy and the social sciences are brought together in place to examine the principle forces that inform understanding of the "performance Design".
It is the field for those who are interested in the visual composition of performance and related scenography practices. Performance design consists of the following principle:
• Looking: the experience of seeing
• Space and place
• The designer: the scenography
• Bodies in space
• Making meaning
2. The Digital- theatre Performance:
In 1951, the greatest French actor Jean Louis Barrault theorized all art as a confrontation of one element against another:
• a brush rubs a canvas
• a pen scrapes a paper
• a hammer strikes a string
In the theatre he said "a human being struggles in space. The theatre is the art of the human being in space". In live multimedia theatre, projection screens or video monitors frame additional spaces, in this time is in two dimensions. Yet despite the flatness of the screen frame, projected media can in one important sense offer far more spatial possibilities than three dimensional theatre spaces. As film theories have explained since early 1900s, the media screen provides a uniquely pliable and poetic space. Unlike the fixed point of view offered to the seated theatre spectator, screen media facilitate multiple viewpoints on the same subject through the variation of camera angles; and perspective and spatiality can be transformed from a vast panorama to a huge close-up in twenty fourth of a second blink of the projector's eye. Film and video editing enables an instant visual and aural fragmentation of space and time. The film, video and computer artist are therefore able to construct a bombardment of image from different times and spaces quite impossible in live performance within three dimensional theatrical space.
3. Seeing the real; Seeing the virtual:
According to Foucalt, subject "runs in the empty sameness throughout the history", the viewing subject is always constituted within a specific "historical framework". The revolution in image production in the latter part of twentieth century heralded by rapid developments in digital technologies has radically altered the way we see: Most of the historically important functions of the human eye are being supplanted by practices in which visual images no longer have any reference to the position of an observer in a "real", optically perceived world.
Crary accepts that the older "modes of 'seeing' " will continue to operate alongside these new forms of vision but he is wary of the implications of these techniques for the human subject. This caution needs to be balanced against the potential for 'digitally fabricated spaces' to expand the visual field, taking audiences into uncharted territory resulting in a new aesthetics of looking and seeing.
Clearly, definition of the real are no longer simply constituted by what is seen by the eyes, but also by what is seen through a microscope, a telescope, and even in interface of one's computer screen. And while on the one hand the virtual appropriates and cannibalizes the real, the real is still our main point of reference in any definition and understanding of the virtual.
These thoughts formed the inspiration for my project.