PANEL 1: Practicing with Technology

(Robert Gill Theatre)

Moderator: Montgomery Martin

“Hello, listeners—and I do mean both of you” or, the Loneliness of Long-distance Mass Communication on Radio

Appearing on radio is an exercise in self-consciousness. A lot of radio performers and personalities—myself included—got involved with the medium because it gave them a chance to be heard without being seen. My own experience has taught me to take advantage of the fact that the audience has no way of placing where my voice is coming from: it’s allowed me to create multiple personas which have little to do with my actual appearance, to shift between them at will, and to manufacture soundscapes to create a context for their interactions. As my voices talk to one another, their audience remains a mystery. Where are they? Who are they? What happens when they start talking back, through e-mails and social media, in letters, over the phone, and in person? Will I respond to them as “myself”, or will my radio voices do the talking for me? Stay tuned…

Rick Cousins is more people than he generally cares to let on. Academic Rick has just finished a master’s thesis on the uniquely surreal radio and comedy phenomenon that was The Goon Show. Performer Rick depends on Writer Rick (and vice versa) to bring to  life a rogues’ gallery of human and non-human characters which have been let loose over the past two decades on the airwaves of both the CBC and community-based radio stations.

Digital Technologies in Performance: Disruptive and Transformational Presencing

Saltzberg FOOT imageAs the University of Missouri Mizzou Advantage Postdoctoral Fellow in Managing Innovation: Navigating Disruptive and Transformational Technologies, I created a hybrid theory/practice course entitled “Theory and Practice of Digital Media in Performance.” In the first half of the semester, students explored the historical, cultural, and theoretical contexts of digital technologies in performance. In the second half of the semester – using Bogart’s Viewpoints and Composition method – students crafted an original multimedia performance art piece they performed in the University’s art gallery. The piece explored presence through the movement of the body as a living compositional element via digital and corporeal means. Our process asked: (1) What are the social, cultural, and aesthetic consequences of an action?; (2) How can the physical experience of witnessing help you comprehend what you are watching?; (3) What does it mean to mediate a ‘live’ performance?; and (4) Can performance engender an active sense of empathy?

Dr. Matt Saltzberg is a Visiting Assistant Professor of Performance & Communication Arts at St. Lawrence University. His work focuses on physical theatre techniques and the integration of theory and practice. His scholarship has been featured in Ecumenica, Theatre Research International, Journal of Religion and Theatre, Text and Performance Quarterly, and Liminalities. Directing credits include Time Stands Still; Agnes of God; and The Goat or, Who is Sylvia?. He serves as Secretary of the Association for Theatre Movement Educators and as Board Chair of Independent Actors Theatre.

When Less is Enough: Theatrical Devisement and Intermediality in Nightswimming’s Blue Note

bluenote-view-6_4A reflexive case study of Blue Note, an interdisciplinary devised piece of theatre about choral singing, created by Martin Julien and Brian Quirt and presented by Nightswimming and Harbourfront Centre at the World Stage Festival in Toronto in September of 2008. (The ‘performance score’ was subsequently published in Canadian Theatre Review 140 Fall 2009.) Developed over three years, Blue Note was designed by PLANT Architects (Toronto), presented in the York Quay Art Gallery, and sustained a negotiation with a number of video, audio, and lighting strategies in its presentation. As an explicitly experimental and conceptually open-ended exploration, Blue Note was a project potentially open to the inclusion of any technology within its methodologies of augmentation. However, what became clear through its devisement was that the piece seemed to ask for less rather than more technological extension: the tension between “Wow! Look at all the technology at our disposal” and “Whoah! What technology do we actually want?” is a marker of that space which needs to be (ful)filled by a contemporary theatrical engagement that is intentionally bound to flesh and blood as it strives to extend itself through an expressive and mediating technology.

Martin Julien is currently a PhD student at the Centre for Drama, Theatre and Performance Studies. His thirty year career as a professional actor has seen him perform with virtually every established theatre in Toronto, as well as maintain an active presence in film, voice, and television work. His plays have been produced at Canada’s National Arts Centre, World Stage Festival, Summerworks and the legendary Caravan Farm Theatre in British Columbia, where he was an associate artist for ten years.

PANEL 2: The Digital Spectator

(Robert Gill Theatre)

Moderator: Isabel Stowell-Kaplan

How Time Flies: Vojin Vasovic’s 5 Minutes Each and the Chronometry of Falling

Cesare 2It would have taken Richard Drew’s Falling Man, photographed in tragic, graceful descent from the World Trade Center on September 11, approximately ten seconds to reach the ground. As he fell, time would have seemed to decelerate around him. However, it is not time that slowed, but, rather, his own memory. There is, with the choreography of the falling body, a concordant choreography, and chronometry, of falling time. Director Vojin Vasovic’s 2011 animated short 5 Minutes Each plays with such tricks of time, interrogating the relationship between time and memory, technology and anachronism, and, in a manner not dissimilar from Drew’s 2001 photograph, between the aesthetic and the humane. The resonance between the two images lingers, indicative of a certain cross-cultural sense of vertigo, collected in a recognizable, if accidental, pop-cultural archive of falling that includes as well the opening sequence from the popular AMC series Mad Men. Putting these still and moving images—Drew’s photograph, Mad Men’s falling cartoon, and Vasovic’s film— in dialectical conversation with recent theorizing on the relationship between documentation and reality, and technology and perception, I will consider in this paper not only the perceptual effects and chronometric affect of falling, but also the human imperative to fall.

T. Nikki Cesare Schotzko is Assistant Professor at the University of Toronto’s Centre for Drama, Theatre, and Performance Studies. Her work has appeared in Performance Research, Theatre Journal, and TDR, where she is editor of the performance review section Critical Acts. She has dramaturged experimental theatre performances in Toronto, New York, Chicago, and Morelia, Mexico, and she is currently enmeshed in a book manuscript that engages the skewed relationship between technology, documentation, and pop-cultural perception after September 11.

The Screen is the Thing: Multiplicity and Virtual Spectatorship in Hamlet Live

What do pop icon Whitney Houston and Hamlet have in common? On the same night as a production of Hamlet Live (Toronto, 2012), the news of Houston’s death went viral on numerous social media platforms. This news would normally have no effect on traditional live theatre since an in-theatre audience is disconnected from any online presence. Hamlet Live’s audience, however, was split between live and virtual spectatorship, a reality that produced a unique form of non-linear intermediality into the performance. Within minutes of Hamlet Live commencing, a chatroom box from one of the other virtual spectators announced: “so… whitney houston just died…so says facebook?” (Silver). This paper analyzes the implication of the space created by the commentary produced through this virtual spectatorship.

Cynthia Ing is a second year PhD student at the School of English and Theatre Studies located at University of Guelph. Her primary research is focused on the intersection of intermedial performance and intercultural theatre. She proposes that the integration of media technology into live performance can create a non-linear representation of narrative, in which important negotiations about the multiplicity and contradiction of representation in intercultural theatre can occur.

PANEL 3: Performing Gender through Technology

(Robert Gill Theatre)

Moderator: Kelsy Vivash

Potentials and Limitations of Performance of Feminist Slut in Digital Media

This paper explores the possibilities of self expression in digital media for women who openly call themselves sluts, with a special focus on Liandra Dahl, and independent erotica artist who defines herself as being “sex-positive producer and performer of pansexual reality porn.” The references that goes back to Liandra’s description of violent memories and her self-portrayal as an erotica artist mainly for queer audiences, diverge and fuze into one image of herself as a virtual performer. In the light of some examples, this paper will talk about sluthood on cyber space with its references to both sexual violence and sexual freedom.

Ozgul Akinci holds an MA degree in Cultural Studies (Istanbul Sabanci University, Turkey). Her MA research project was based on the first international performance art festival that was held in Turkey. Currently, she is a PhD student in Interdisciplinary Graduate Studies at UBC Okanagan. Her research is based on exploring the intersection between prostitution and theatre.

Can I be a female cyborg? Identity and technology in Stéphane Gladyszewski’s Tête à Tête

Stéphane Gladyszewski created Tête à Tête amidst a discourse surrounding technological art that posits, as Claire Bishop did recently in Artforum, technological works inevitably highlight “the troubling oscillation between intimacy and distance that characterizes our new technological regime.”  In contrast, he sought to use technology to put corporeal bodies in closer relation, and to create a more intimate exchange between spectator and performer. Using Gladyszewski’s work as a starting point, this paper seeks to explore the implications of using digital technologies to alter the representation of, and interaction between, bodies within a performance space. By exploring the presence of cyborgs, it considers the creative possibilities for identity formation within a digitized performance space—ultimately reading digitized spaces as sites where identities are constantly in a state of becoming.

Kallee Lins is a recent graduate of McGill University where she studied Political Science and English with a concentration in Theatre.  She is currently pursuing her Masters of Theatre Studies at York University where her research interests range from interdisciplinary performance and physical theatre to Canadian radio drama.  Her overarching interest is the body in performance, which stems from years of training as a modern dancer.

#DeFindYourself: Re-/Un-gendering of Identity Through Visual Media and Social Networking in SDSU’s Fall 2012 Production of As You Like It

Use of film and social networking sites (SNSs) in the 2012 San Diego State University (SDSU) production of As You Like It challenges the audience to approach Shakespeare and the theatre-attending experience through action and interaction. Audience members are invited to use a searchable, trackable Twitter hashtag, #DeFindYourself, to post pictures, observations, opinions, and questions. This allows them virtual interplay and interaction in addition to interaction with the actors in the physical realm–through actors’ flirtation, dancing on/near, etc.—encouraging an enmeshment into the production. Through interaction in the Twitter conversation the relationship between spectator and performer, between subject and object is a constantly shifting condition determined by willingness of audience members to break and accept the breaking of not only the fourth wall, but a “fifth wall” of social conditioning and expected behavior in both real life and in the carefully constructed world of social media as further explained and explored within this paper. By seeking the interaction of the audience through posting of comments, opinions, and pictures the production asks them to share in the receipt of the gaze: not only are they the source of the evaluative and valuative, but they have joined the actors onstage as receivers of perpetually shifting approval or disapproval. Shifting from subject to object through their interaction and participation as actors, the audiences’ voyeurism is reversed, subjecting themselves to being observed.  However, as their interaction is through the medium of social networking, communicating only through Twitter, the anonymity of panopticism protects them from the direct judgment of both their fellow audience members and the actors also accessing the Twitter-feed, yet concurrently subjects their Tweets and their created public profile to response and observance.

Amy Shine is in the second-year of the Masters in Theatre Arts program at San Diego State University. She most recently proposed and assistant directed a transgendered production of As You Like It that incorporated prerecorded and live-feed film and social networking media and was set in a contemporary drag club. Other recent exploits have included dramaturgical work on La Sierra University’s production of The Imaginary Invalid and SDSU’s production of Lydia by Octavio Solis and current internship under Matthew Neves, Producing Artistic Director of Performance Riverside.

PANEL 4: Politics in Intermedial Performance

(Robert Gill Theatre)

Moderator: Jenny Salisbury

“Machinic Heterogenesis”- Obscene Tactics of Subversion 

Within the highly contestable space of artistic activism, contemporary performance art is the most prominent medium that readily and actively addresses the issues of power and violence in modern bio-politics. Powerful examples of engaged political art are instantiated by the complex, experimental work of the Slovene post-punk group Laibach and Istvan Kantor, a Canadian contemporary performance, and multi-media artist. Indeed, it was Kantor’s highly subjective, intervening political and critical attitude that earned him the title of a “queer propaganda artist.” In the course of this study, I intend to introduce the prominent problematic of today’s bio-politics, namely, the benign question of identity formation and the representational schemes of corporeality in a technocratic society, by comparing Laibach’s aesthetic of monumental eclecticism with Kantor’s radical tactics of provocation. Their work in question addresses the vexed questions of progress and/or tradition, the all-encompassing monopoly of superpowers, the prominent events in international politics, and the function of „identity traps”, all of which are inhabiting, hybrid social contexts that constitute the experience of the postmodern body in conflict with its environment. Such performative actions create, what Žižek calls, “short circuits” in the political environment by confronting classic notions with their “own hidden presuppositions” to reveal their “disavowed truth” and thus “illuminate a standard text or ideological formation, making it readable in a totally new way.” By freely borrowing from the cultural heritage of the Vienna Actionists, the Situationists, and from contemporary philosophical thought, Laibach and Kantor’s urban interventions aim to raise concerns about the obsolescence of the biological body in today’s liberal capitalist technocracy. Being torn and marginalized, the body no longer reflects the war against outside forces, it has instead become the site of the political par excellence, a tabula rasa of the mechanisms of an abstract, nominalistic power.

Eszter Jagica

Eszter Jagica studied Dramatic Literature and Modern Languages at Bishop’s University in Lennoxville, Quebec, and received her M.A. in Drama at the University of Toronto, Canada where she is currently pursuing her Ph.D. entitled: Aesthetics of Subversion: From Heiner Mueller to Contemporary Performance Art.

Beside her academic pursuits, she has been a long time collaborator of Istvan Kantor, a Hungarian/Canadian Governor General Award winner multimedia artist. Eszter has also worked as a performance artist, translator and curator in North America and Europe.

Everyday Excess: Arirang and Aesthetic Living in the DPRK

north-korea-mass-games-arirang-festival-4-20110908Since its foundation, the Democratic People’s Republic of Korea has depended on film and theatre to offer models of behaviour for its citizens and no event more powerfully encapsulates the melodramatic kitsch of the national mythology than the impressive propaganda spectacle, the Arirang Games. Featuring between 80,000 and 100,000 performers, the Games offer a show that is part gymnastics, part dance, and part military parade and the effect resembles something between a militarized Cirque du Soleil and a dream sequence in a Disney film directed by Leni Riefenstahl. In this paper I look at the ways that Arirang incorporates media aesthetics from television and the internet to create a *gesamkunstwerk* of melodramatic kitsch that not only presents an ideal version of the country’s national myths but also serves as a model for everyday living.

Matt Jones is a writer, dramaturg and doctoral student at the Centre for Drama, Theatre and Performance Studies at the University of Toronto. He holds a BA and an MA in English literature from Concordia University in Montreal. His research is on problems of theatrical representation of the War on Terror and his latest play, *Death Clowns in Guantanamo Bay*, will be staged at the Drama Centre in March 2013.

Politics and Spectatorship in Digitally Enabled Street Performance

Mobile devices are increasingly popular formats through which to create technology-based and audience-centred mixed reality performances. This use of mobile technologies raises questions about whether the increased presence of digital devices reinforces dominant modes of connectivity or promotes new methods of engagement. In this paper, I analyse Blast Theory’s A Machine to See With (2010) in order to examine how performance can facilitate political engagement via mobile devices. While aesthetically intermedial through the integration of non-theatre digital media within a theatrical framework (Balme; Kattenbelt), this site-specific and mobile production also points to the political potential of interactive intermedial engagements. Rather than simply thematizing our connectivity, this performance explicitly asks audience members to interact with other spectators and digital tools in real-time. In this sense, this work extends political theatre scholar Jill Dolan’s argument that, in certain moments, the theatre becomes a space in which to “critically rehearse civic engagement” to intermedial performance practices.

Kim McLeod is a PhD student in Theatre Studies at York University whose dissertation research investigates the political effects of intermedial performance. Her ongoing performance practice questions political engagement and gender in digital interactions. Most recently, she co-devised the intermedial performance Straight Talk, which examines the role of conservative media in Canada. She is also an active dramaturg and performer whose work has been shown at projecttheater Dreseden, Lesya Ukrainka National Theatre (Kiev), Riverside Studios (London) and Assembly (Edinburgh).

Performance as Social Action: An Argument for the Technologized Spectator

Because emerging technologies alter our experience of space and presence, recent debate has arisen concerning the merits of the “technologized spectator.” In practice, some theatres block cellphone reception while others institute “Tweet Seat” programming. Technologized audiences are either isolated or eliminated. While much debate begins with emerging technologies—how they affect us and how we may effectively use them—an alternate perspective that begins with and privileges performance, is needed. This paper argues that in order to harmonize the increasingly technologized spectator with performance, we must understand performance itself from the standpoint of human action. Beginning with Aristotle’s assertion that tragedy is the “imitation of an action” and drawing on current cognitive science and philosophy of action, the paper argues that performance reiterates and examines the essentially social nature of human action. From this perspective, we can effectively find practical ways to tailor emerging technologies for complementarity with performance.

David Wright is a PhD student at the University of Pittsburgh, Theatre Arts Department. His research uses action theory and cognitive science to examine the potentials for action that emerging media affords audiences and design that media to help an audience better attend to the actions on stage. In addition to teaching at Pitt, he is also a production manager with experience in nearly every aspect of theatrical production.

PANEL 5: Digital Identities

(Robert Gill Theatre)

Moderator: Allison Leadley

Bully for You: Performance, Youth, and Cyber-bullying

bullying_1351877243_540x540In October 2012, Vancouver teenager Amanda Todd made headlines across Canada for committing suicide after being cyber-bullied, bringing technology and bullying back to the forefront of public consciousness. While there has been a wealth of scholarship which considers the negative impact of cyber-bullying, there has been significantly less work which investigates cyber-bullying through
the lens of technology and performance. How do contemporary youth perform their identities online? How do ?bystanders? become audiences/spectators when bullying is mediated by technology? This paper attempts to expand on previous scholarship by exploring the ways  adolescents use technology to form and perform identity. Through a discussion of Turner?s social identity theory, Goffman?s concept of self-representation and contemporary studies of adolescent online identity formation, I will argue that online performance is an essential tool to investigate cyber-bullying.

Kelsey Blair holds a Bachelor of Arts in Film Studies from the University of  British Columbia, a Master of Arts in Cinema Studies from the University of Toronto, and is currently pursuing a Master of Arts in Theatre Studies from the University of British Columbia. Her areas of interest include the intersection between artistic bodies and athletic bodies, gender, sport and performance, and performance and technology.

Broadcast Bodies: Freya Olafson’s Avatar

Canadian Intermedia artist Freya Olafson’s ~2009-2011 production Avatar combines contemporary dance with consumer electronics and the ‘social web’, animating Olafson’s concerns with the public performance of identity and embodiment through the lens of ‘I post therefore I am’.  As an intervention in the performance traditions of body art and the social practices of web presence, Olafson’s work articulates a critical encounter with technological and ontological transparency, examining acts of personal intimacy broadcast to the anonymous public of Facebook, Youtube and Twitter.  This paper discusses Avatar with a specific focus on the legibility it grants to the history of embodiment.

Ashley Majzels

Professor Ashley Majzels is a Ph.D candidate in Theatre Historiography at the University of Minnesota. He is currently completing his dissertation on corporeality and theatrical representation under the spectacle, and teaching at the University of Winnipeg.

Training the Virtual Body: the conditioning of the newbie in Second Life

After some reflection and a good deal more experience, I have come to realize that Goldie’s response is indicative of a common perception held by many of the ‘Residents’ (the in-world term for avatars) of Second Life. Specifically, that Residents in SL are free. Free to interact however they choose, to create and write upon the body of their avatar, and to participate and perform within the community without interference from any larger governing structures. Such a perception of agency is echoed by scholar Laura Landay whose suggestion that “there is no central experience [in SL] other than navigating the virtual space with an avatar, and using some form of communication with others” (Landay 2009:25), is indicative of the popular conception of a virtual space free of external inhibitions. Such assertions of virtual agency are as utopian as they are worrisome. They seem to ignore the fact that virtual space (and the platforms that house it) is privately owned, willingly overlooking: the possibility of larger inscriptive forces, the conditioning implicit in design and in the model, as well as the roles of medium and culture in instructing user behaviour, all for the sake of technophilic optimism. This article is critical of such fast optimism, and will strive to identify and explore the external and often invisible mechanisms and tactics that code bodies (subject and avatar) and behaviour within Second Life. I intend to do this through a close reading of the two events of fixed content (content that the user cannot change), that occur immediately after a user joins Second Life and logs on for the first time. The first event is the acquisition of the SL default avatar (that being the avatar state before the subject engages in any acts of writing). The second is the mandatory tutorial that the default avatar must complete called Welcome Island. I will argue that the pre-coded body of the default avatar coupled with the training of Welcome Island succeeds in creating a fundamental condition of virtual subject-hood that is implicit (and active) in all Second Life users.

Michael Reinhart

Michael is a PhD Candidate at the Centre for Drama, Theatre and Performance Studies at U of T.

PANEL 6: Gaming and Performance

(Robert Gill Theatre)

Moderator: Andy Keenan

How the Year Zero ARG Challenges Traditional Narratological Practice

In this paper, I explore the various strategies that semiologists have used in the ongoing attempts to grapple with the challenges transmedial, interactive narratives present to narratology’s analytic tools. By applying the strategies of previous semiologists to the sweeping *Year Zero*ARG by 42 Entertainment, I highlight the inadequacies, surprising compatibilities and possible solutions to the divide created between tools intended for stable texts and unstable content. The paper focuses on one specific event in the *Year Zero ARG,*and approaches analysing it from three different perspectives, using narrative world semantics as an anchoring through line. In doing so, this paper highlights the useful properties of narrative world semantics for bridging the narratology-vs-ludology divide, and simultaneously highlights the useful similarities between historic theatre practices and these newfound interactive and transmedial narrative forms.

Derek Gingrich is a master’s student in the University of Ottawa’s theatre program. His primary research interest is fictional world
semantics, and their usage in bridging across various narrative formats and non-artistic disciplines. Derek is also a playwright and dramaturg: he previously ran an emerging playwrights group in coordination with the PGC and has written several plays and short stories. The marriage of practice in theory is a topic of great personal passion!

The Active Audience and the Gamification of Narrative

Skyrim VistaThis paper will apply Elinor Fuchs’ elaboration of Brecht’s anti-Aristotelian approach to character – that character is only known through action – to the idea of environmental storytelling within major video game titles such as Skyrim, Gears of War 3 and Dishonored. The player’s relationship to the unfolding narrative, revealed through actions and spatial exploration, involves the concept of agency and a new understanding of interactivity in performance as described by Johannes Birringer in Performance, Technology, and Science. Videogames are an important emerging artistic field and I see these new directions in game narrative strategies and the relationship of the player/protagonist as a reflection/extension of current developments in postmodern performance and site-specific theatre as described by the work of Hans-Thies Lehman in Postdramatic Theatre and Nick Kaye’s Postmodernism and Performance.

David Owen is a doctoral student in Theatre Studies at York University and holds an MFA in Directing and a MA in Dramatic Theory. He is a scholar, award-winning playwright, director, gamer, and member of the Playwright’s Guild of Canada (PGC). His current research focuses on the intersection of performance and videogames. He was recently published in the anthology Ctrl-Alt-Play: Essays on Control in Video Gaming and curated a panel on virtual performance at the 2012 CATR Conference in Kitchener-Waterloo.

We can be heroes: playing through game characters

Game characters consist the main focal point for game-play progression. In screen-based digital games our play is facilitated by and enabled through successful engagement with a game’s main player-character. From abstract polygon through to super-charged cyber-dominatrix, this moving combination of pixels and code continually represent player action in game, this representation is both instrumental to ongoing player action and connective to the game’s dramatic setting. The engagement between player and player-character, relationship even, is central to satisfactory play and consists a key research theme for the emergent field of game studies. This paper is interested in the connective tissue from a player through her player-character to the game and is focused on game characters in dramatically rich third-person game experience. The argument extended here is that framing the player as dramatic performer is productive for unpacking the mutable connections between player and player-character.

Interest in interactive drama cycles through both the industry and the academy. Mainstream games push technological innovation in performance capture and experiment with dramatic structure in game form, currently on display in games such as Uncharted 2 (2009), Mass Effect 2 (2010), Heavy Rain (2010) and the forthcoming L.A. Noir (2011). Whilst academic interest in interactive drama high it has only been relatively recently that performance theory has been applied to digital game form (Tanenbaum et al 2008; Westecott 2009). The contribution here lies in the emphasis on the player as performer from the perspective of performance theory and the associated implications for relationships between players, player-characters and dramatically-relevant game action.

Emma Westecott

Emma Westecott is Assistant Professor in Game Design and Director of the game:play lab at the Ontario College of Art & Design (OCADU) University in Toronto, Canada ( She has worked in the game industry for nearly twenty years: in development, research and the academy. She achieved international recognition for working closely with Douglas Adams as producer for the best-selling CD-ROM Adventure Game, Starship Titanic (1998, Simon & Schuster). Since then, Westecott has built up a worldwide reputation for developing original as well as popular game projects.

Westecott has been invited to present her work at many prestigious venues including BAFTA, the Tate, the Banff Centre and DIGRA ( Between 2001-4, Westecott directed the zerogame studio for The Interactive Institute ( in Sweden, where an impressive body of applied research was created under her leadership. More recently she has been Games Research Fellow at NSAMD, UWN where she ran the games research group and organized 2007’s Women in Games conference (

Performance-as-Research Sessions

Animating/Animated Bodies – A Demonstration

A practice-as-research investigation of digital technology (visual/sonic motion-tracking) in performance

In our presentation we will reflect on the work that was done in our conference workshop “Animating/Animated Bodies – A Workshop”. This will include a short introduction to the problem of animation, the performing body/object/puppet and the virtual doubling in live theatre/performance as well as a short demonstration of workshop participants’ findings in the process of our workshop. A project of DDL (Digital Dramaturgy Lab).

Professor Antje Budde works both in the academic and the artistic field of theatre and performance studies. She is a full faculty member of the Centre for Drama, Theatre and Performance Studies at the University of Toronto. In 2012 she founded the Digital Dramaturgy Lab, which engages in scholarly, artistic and educational projects. Recent ones include: Homo Ludens: The Playing Body;
Artaud’s Cage.

Professor Don Sinclair has taught new media in the Faculty of Fine Arts at York since 1990. He was the primary designer of the Faculty’s new media courses. An enthusiastic participant in collaborative teaching, he has developed innovative cross/interdisciplinary courses in interactive dance with Holly Small (Dance) and physical computing with Wojtek Janczak (Design), as well as working on technology-enhanced learning initiatives with Renate Wickens. For more see:


Old School – The Science of Object Manipulation

Ingrid will discuss the workshop that she held the previous weekend with students from the Drama Centre. The workshop took a hands-on “caveman” approach to working with objects, old-school style, in techniques of puppetry and object manipulation.

This work was informed by the time she has spent studying puppetry with Tim Gosley, former Muppeteer, and Pete Balkwill of The Old Trout Puppet Workshop, as well as the object-manipulation work she did with the inmates at William Head Prison Theatre Company.

Ingrid Hansen

Ingrid Hansen is an interdisciplinary theatre artist, and the Artistic Director of SNAFU Dance Theatre, which has been creating innovative live performances on the West Coast since 2006.

Dyslexia: The Musical

I will be showing a short music video of an original song from the show and it will feature myself, dressed up in an enormous brain costume, carrying out everyday tasks around town. The video is edited in such a way to artistically render a Dyslexic experience. The music video is one aspect to a larger one-person show about Dyslexia, not fitting in, and Capitalism. I will also be reading a brief essay on how I see topics intersecting. Finally, I will also talk about how I see a performance about Dyslexia as necessarily intermedial.

Katherine Cullen is an actor, playwright and associate artist with Outside The March Theatre, Toronto. She completed her Masters in Drama at the University of Alberta. Katherine lives Toronto and was recently seen driving Paul Anka in a Kia car commercial. She appeared in this past year’s Summerworks festival with Outside the March Theatre’s production of Mr. Marmalade (Sookie, Emily the Babysitter, a Sunflower). Previously, she worked with Playwright’s Workshop Montreal and was admitted into the play-writing Masterclass, taught by Governor General Award winning playwright, Guillermo Verdecchia. Her full length play, Vultures debuted in the NextFest Emerging Artist Festival in June of 2010. Last summer, Katherine apprenticed with the seminal Bread and Puppet Theatre in Vermont. Previous credits includes A Lie of the Mind (Lorraine), Jewel (Marjorie), Blue Window (Libby), and The Changeling (Beatrice-Johanna). Most recently, Katherine appeared in The Serial Collective’s production of Ladies Who Lynch at The Canoe Festival in Edmonton. Most recently, she was in the Buzz theatre festival at Theatre Passe Muraille.


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