Dunlop, Jane Frances ORCID: https://orcid.org/0009-0000-4350-5381 (2024) Theatricality and dissonance: frictions in contemporary networked performance practices. In: Quick, Andrew and Rushton, Richard, (eds.) Theatricality and the Arts Film, Theatre, Art. Edinburgh University Press, Edinburgh, pp. 70-87. ISBN 978-1399511650; 1399511653 (In Press)

Preview

PDF (Accepted book chapter) 45949_DUNLOP_ Theatricality_and_dissonance_Frictions_in_contemporary_networked_performance_practices.pdf - Accepted Version Download (1MB) | Preview

Abstract

Through an analysis of the virtual reality installation and performance hollow tongues (2017) by the art collective (play)ground-less and my own livestream performance minor fabrics (2016), I use theatricality to investigate the imbricated emotional and technological relations present in performance practices that make use of the internet. Internet performance practices cultivate an awareness of form as it mediates a relationship between performer and audience. This establishes theatricality as key to these performances, bringing about a heightened sense of form and convention through the frictions of their intensified or imperfect reproduction (Carlson, 2002; Davis, 2003; Féral, 2013) . This amplifies the relationships a given work mediates and, through this theatricality, emphasises the beholder as implicated in the artwork (Fried 1967). Within this critical context, my chapter proposes ‘dissonance’ as a concept for addressing the noise and friction of technologically mediated communication as well as the tensions of relation between individuals in performance. ‘Dissonance’ is a term that captures the emotionally and technologically imbricated affects of relation in contemporary postdigital society. Within the context of internet performance, the frictions and noise of digital technologies’ everyday usage can be appropriated as the tools for creating the digital theatricality. In this chapter, I will argue that theatricality provides a framework for understanding how contemporary internet performance practices respond to, and participate in, the reciprocal influences of emotions and digital technologies. The frictions that exist in the overlap between the politics of emotion (Ahmed, 2004; Diprose, 2002; Sedgwick, 2002) and of digital technologies (Berry and Dieter, 2015; Chun, 2016; Hu, 2015) are the focus of my ongoing research and this chapter.

Item Type:	Book Section
Uncontrolled Keywords:	theatricality; internet art; performance studies; media theory
Subjects:	N Fine Arts > N Visual arts (General) For photography, see TR P Language and Literature > PN Literature (General) > PN2000 Dramatic representation. The Theater T Technology > T Technology (General)
Faculty / School / Research Centre / Research Group:	Faculty of Liberal Arts & Sciences Faculty of Liberal Arts & Sciences > School of Design (DES)
Last Modified:	07 Mar 2024 13:45
URI:	http://gala.gre.ac.uk/id/eprint/45969

Actions (login required)

View Item

Downloads