References Appia, Adolphe. 2010. “For a Hierarchy of Means of Expression on the Stage.” In Theatre and Performance Design: A Reader in Scenography, edited by Jane Collins and Andrew Nisbet, 85–88. London; New York: Routledge. Auslander, Philip. 1999. Liveness: Performance in a Mediatized Culture. London; New York: Routledge. Baugh, Christopher. 2005. Theatre, Performance and Technology: The Development of Scenography in the Twentieth Century. London; New York: Palgrave Macmillan. Birringer, Johannes. 2008. Performance, Technology, and Science. New York: PAJ Publications. Braun, Edward. 1998. Meyerhold: A Revolution in Theatre. London: Methuen Drama. Buckingham, David, and Rebekah Willet. 2006. Digital Generations: Children, Young People and New Media. New Jersey: Lawrence Erlbaum Associates, Inc. Craig, Edward Gordon. 1983. Craig on Theatre. Edited by Michael J Walton. London: Methuen. ———. 1911. On the Art of the Theatre. Edited by Franc Chamberlain. London; New York: Routledge. Dixon, Steve. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge, MA: MIT Press. Gere, Charlie. 2006. Art, Time, and Technology. New York: Berg Publishers. ———. 2002. Digital Culture. London: Reaktion Books Ltd. Haseman, Brad. 2010. “Rupture and Recognition: Identifying the Performative Research Paradigm.” In Practice as Research: Approaches to Creative Arts Enquiry, edited by Estelle Barrett and Barbara Bolt, 147–57. London: I.B. Tauris. Isadora v.1.3.0f24 (Software: Mac OS X and Windows XP). TroikaTronix, Berlin, Germany. Kepner, Leslie Sawin. 1997. “Dance and Digital Media: Troika Ranch and the Art of Technology.” Digital Creativity 8 (1): 11–19. doi: 10.1080/09579139708567069. Lehmann, Hans-Thies. 2006. Postdramatic Theatre. Translated by Karen JursMunby. Hoboken: Routledge. McAuley, Gay. 2010. “A Taxonomy of Spatial Function.” In Theatre and Performance Design: A Reader in Scenography, edited by Jane Collins and Andrew Nisbet, 89–94. London; New York: Routledge. McKinney, Joslin, and Philip Butterworth. 2009. The Cambridge Introduction to Scenography. Cambridge, UK: Cambridge University Press. Müller, Heiner. 1984. Hamletmachine and Other Texts for the Stage. Translated and edited by Carl Weber. New York: Performing Arts Journal Publications. Palmer, Scott. 2007. “A Place to Play: Experimentation and Interactions between Technology and Performance.” In The Potentials of Space: The Theory and Practice of Scenography & Performance, edited by Alison Oddey and Christine A. White, 105–18. Bristol: Intellect Books. Saggini, Valerio. 2003. Mapping Human Gesture into Electronic Media: An Interview with Mark Coniglio of Troika Ranch. Accessed 10 April 2012. http:// www.thereminvox.com/article/view/24/1/3/ Schlemmer, Oskar. 1972. The Letters and Diaries of Oskar Schlemmer. 1st ed. Connecticut: Wesleyan University Press. ———. 1961. “Man and Art Figure.” In The Theater of the Bauhaus, edited by Walter Gropius and Arthur S. Wensinger, 15–46. Baltimore: John S Hopkins University Press. Shakespeare, William. 2000. Hamlet. DVD. California: Buena Vista Home Entertainment. ———. 2003. Hamlet, Prince of Denmark. Edited by Philip Edwards. Cambridge, UK: Cambridge University Press. Synchronous Objects: Introduction. 2012. Accessed 10 April. http:// synchronousobjects.osu.edu/content.html. Synchronous Objects: Alignment Annotations. 2012. Accessed 10 April. http:// synchronousobjects.osu.edu/content.html-/alignmentAnnotations. Wick, Rainer. 2000. Teaching at the Bauhaus. Ostfildern-Ruit: Hatje Cantz Publishers. Zone, R. 2007. Stereoscopic Cinema & the Origins of 3-D Film 1838–1952. Kentucky: University Press of Kentucky.
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Conclusion
The digital stage machine tested the influence that technologies have had upon the performance space. Such systems were found to question the “liveness” of the machine, and the design itself became as much a performer as the audience (Auslander 1999, 62). This living, adaptive environment also reorganised the role of the spectator, encouraging interaction rather than passive observation. The shift from ‘audience’ to ‘user’ was a direct responded to the result of the interactive, real-time systems in the space. As such, the technology moved the focus from performance product to process, and each showing was a unique, unrepeatable occurrence. Finally, the digital technology challenged the machine’s operator, as my focus changed from controlling the system to mediating the interaction between system and user. In my role as scenographer, I responded to the current digital culture, using its technological tools to design the machine’s systems-orientated environment. This theme of response continues the practice established by Craig, Schlemmer, Meyerhold, Popova, and Svoboda. Thus, through my studio-based practice—informed by critical theory—I was able to produce a functional example of the digital stage machine that allowed me to observe the influence of digital technology on the performance space.