Universität Wien

170999 UE Media Aesthetics in Everyday Use (2022S)

Theatre in the Digital Space

Continuous assessment of course work

Es kann sich nur anmelden, wer bereits erfolgreich eine Vorlesung im Erweiterungscurriculum besucht hat. Die Teilnahme ohne abgeschlossene (!) VO ist in keinem Fall möglich.

Bitte wählen Sie bei der Eingabemaske auf u:space aus den möglichen Optionen "Erweiterungscurriculum" aus und lesen Sie die Informationen der SPL-Website durch, damit Ihre Anmeldung berücksichtigt werden kann:
https://spl-tfm.univie.ac.at/studium/studien/ec-medienaesthetik/

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ANLEITUNG ZUR REGISTRIERUNG DES EC "A 171 Medienästhetik im Alltagseinsatz":

https://www.youtube.com/watch?v=2uUQBRJFGNQ

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 30 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

Monday 07.03. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 14.03. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 21.03. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 28.03. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 04.04. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 25.04. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 02.05. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 09.05. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 16.05. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 23.05. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 30.05. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 13.06. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 20.06. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde
Monday 27.06. 09:45 - 11:15 Seminarraum 4 2H558 UZA II Rotunde

Information

Aims, contents and method of the course

In this course, phenomena of the performing arts in the digital space will be collected, described and examined with the help of illustrative examples together with the students. The concepts of theater will first be examined from the point of view of digital theater creation, and in a second step, possible extensions will be added. What all can be digital theater? Where does theater end and gaming begin? Where does theater begin and gaming end? What terms can be used to describe the new and emerging formats of theater on the Internet? What potentials does an expansion of terms hold for the future consideration of digital theater formats? And where do these expansions fall short? The course is intended to stimulate thinking, to initiate a search movement and to bring new concepts to light in joint discussions.
It is not only since the Corona pandemic that artists have been dealing with theatrical forms of presentation and the creation of performative interaction with the audience in digital space. Nevertheless, the last twelve months have seen an increase in formats, aesthetic approaches, and technical solutions in order to not completely lose communication with the audience through art. This has also increased the discussions about the necessity, the advantages and disadvantages, and the meaningfulness of all these undertakings, which are as diverse as the art productions that have emerged in the process.
In this lecture, the historical anchoring of digital theater will be made visible and tangible by means of concrete examples. The historical outline will be followed by a survey of the present in order to enable a more precise definition of digital theater. The phenomenon of "digital theater" will thus be examined from its historical roots to its future viability.
In the current theater discourse, it is becoming increasingly apparent that the definitions of theater would have to be subjected to a revision or that the concept of theater must be expanded to include digital phenomena. The conceptualization should take place in the interaction between theory and practice. In addition, international experts will be invited to participate in the discussions who have currently realized projects in the digital space and whose expertise, which is not only result-oriented, but also process-oriented, can flow into the discussions.
The course will take place in an analog and digital format.

Assessment and permitted materials

Continuous attendance. Willingness to engage in discussion. Oral and written homework exercises. Lecture and written work material.

Minimum requirements and assessment criteria

Three mandatory performance visits analog and digital (25%). Continuous attendance and willingness to discuss (25%). Oral and written homework exercises (25%). Lecture and written work material (25%).

Examination topics

Reading list

Schwarz, Samuel/Soland, Corinne: Digitalbühne Zürich: Die Schauspielerin 4.0, In: Pöllmann, Lorenz/Herrmann, Clara (Hrsg.): Der digitale Kulturbetrieb. Wien: Springer, 2019. / Krajnik, Robert: Vom Theater zum Cyberspace. Bielefeld: transcript Verlag, 2016. / Kaldrack, Irina: Digitale Kulturen zwischen ewigem Update und sta(tis)tischer Zukunft, in: Förster, Marius/Hebert, Saskia/Hofmann, Mona/Jonas, Wolfgang: Un/Certain Futures. Bielefeld: transcript Verlag, 2018. / Netztheater. Positionen, Praxis, Produktionen, herausgegeben von der Heinrich-Böll-Stiftung und nachtkritik.de in Zusammenarbeit mit weltuebergang.net, 2021. / Han, Byung-Chul, Im Schwarm. Ansichten des Digitalen, Berlin: Matthes & Seitz, 2017. / Dixon, Steve, Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation, Cambridge: The MIT Press, 2007. / Naveau, Manuela: Crowd and Art. Kunst und Partizipation im Internet. Bielefeld: transcript Verlag, 2017. / Pfost, Haiko; Renfordt, Wilma; Schreiber, Falk /Hrsg.): Lernen aus dem Lockdown? Nachdenken über Freies Theater. Berlin: Alexander Verlag, 2020.

Association in the course directory

Last modified: Fr 01.04.2022 09:08