The summary of the selected article appears at the bottom of the page. In order to get back to the contents of the issue this article belongs to you have to access the link from the title. In order to see all the articles of the archive which have as author/co-author one of the authors mentioned below, you have to access the link from the author's name.

    STUDIA DRAMATICA - Issue no. 2 / 2017  

DOI: 10.24193/subbdrama.2017.2.11

Published Online: 2017-10-31
Published Print: 2017-10-31

pp. 189-220


By its complexity, performance art remains one of the most expressive art forms, although difficult to define, as some would argue. The use of media technologies in performance brought a significant enrichment to the artistic expression ever since the first experiments with video art, and broke the barriers between visual arts, cinema, and performing arts. New media and the revolution in communication brought by the Internet increased the complexity of the artistic productions that incorporate digital interactive technologies, making it very difficult to assess the artistic artefacts that tend to fall between art and science. The paper is presenting an approach to teaching digital interactive performance theory and practice, by providing a framework necessary for the development of definitions and taxonomies as well as an understanding of the interdisciplinary aspect of the practice of this emerging artistic genre. The analysis of the narrative discourse that pertains to certain forms of digital performance and the discussion about the esthetic, philosophical or technological aspects is significantly improved by the identification of the main critical paradigms that subscribe them. The paradigms discussed – subscribed to performance studies, digital culture, performing arts and human computer interaction – were developed considering the Romanian context of academic performing arts studies, that focuses almost exclusively on theatre and lacks a tradition in performance studies. The synthesis research about the digital interactive performance opens the discussion about cultivating an educational context appropriate for training artists capable to develop artistic productions relevant in the context of the new arts. The current pedagogical approach needs to be replaced by a heutagogical one, where practical and collaborative projects can be tackled in an innovative, inter-disciplinary framework. Such an approach is not formally possible in the current academic settings, but can be hosted by the university in interdisciplinary research centers and other artistic production contexts.

Keywords: Interactive digital performance, performance studies, digital culture, performance art, human-computer interaction.


Abercrombie, Nicholas, and Brian J Longhurst. Audiences: A Sociological Theory of Performance and Imagination. SAGE Publications, 1998.
Bay-Cheng, Sarah, Chiel Kattenbelt, Andy Lavender, and Robin Nelson. Mapping Intermediality in Performance. Edited by Sarah Bay-Cheng, Chiel Kattenbelt, Andy Lavender, and Robin Nelson. Amsterdam: Amsterdam University Press, 2010.
Benford, Steve, and Gabriella Giannachi. Performing Mixed Reality. MIT Press, 2011.
Bial, Henry. The Performance Studies Reader. Psychology Press, 2004.
Birringer, Johanis. Media and Performance - Along the Border. Bltimore: The John Hopkins University Press, 1998.
Brey, P. “Theories of Technology as Extension of the Human Faculties.” Metaphysics, Epistemology, and Technology. Research in Philosophy and Technology 19 (2000).
Broadhurst, Susan, and Josephine Machon. Performance and Technology: Practices of Virtual Embodiment and Interactivity. Palgrave Macmillan, 2011.
Carlson, Marvin. Performance : A Critical Introduction. Routledge, 1996.
Carlson, Marvin. Performance. A Critical Introduction. 2nd ed. New York: Routledge, 2004.
Chapple, Freda., and Chiel Kattenbelt. Intermediality in Theatre and Performance. Rodopi, 2006.
Cooper, Harris, and Larry V. Hedges. “RESEARCH SYNTHESIS AS A SCIENTIFIC PROCESS.” In The Handbook of Research Synthesis and Meta-Analysis, edited by Harris Cooper and Larry V. Hedges, Second edi., 1–16. New York: Russel Sage Foundation, 2009.
Dixon, Steve. Digital Performance. A History of New Media in Theatre, Dance, Performance Art, and Installation. E-Book kin. Cambrdige, Massachusetts and London:, 2007.
Doyle, Denise. “Out of This World: Exploring Embodiment and Space through Artistic Processes and Practice.” International Journal of Performance Arts and Digital Media 11, no. 1 (2015): 1–17. doi:10.1080/14794713.2014.998097.
Elwell, J Sage. “Intermedia: Forty Years On And Beyond.” Afterimage 33, no. 5 (2006): 25–28,30.
Feenberg, Andrew. “What Is Philosophy of Technolgy,” 2003.
Ferrando, Francesca. “Humans, Cyborgs, Posthumans: Francesca Ferrando at TEDxSiliconAlley,” 2013.
Friedman, Ken. “Intermedia, Multimedia, Media.” Artifact, 2007.
Goldberg, Rosalee. Perforamce. Live Art from 1909 to the Present. New York: Harry N. Abrams, Inc. Publishers, 1979.
Hase, Stewart, and Chris Kenyon. Self-Determined Learning: Heutagogy in Action. Bloomsbury Publishing, 2013.
Heitlinger, Sara, and Nick Bryan-Kinns. “Understanding Performative Behaviour within Content-Rich Digital Live Art.” Digital Creativity 24, no. 2 (June 14, 2013): 111–18. doi:10.1080/14626268.2013.808962.
Helbo, André. Theory of Performing Arts. John Benjamins Publishing Company, 1987.
Koosel, Stacey. “Surfing the Digital Wave: Digital Identity as Extension.” In McLuhan’s Philosophy of Media Centennial Conference, 2011.
Koski, Kaisu. “Instances. Performing an Avatar: Second Life on Stage.” In Mapping Intermediality in Performance, edited by Sara Bey-Cheng, Chiel Kattenbelt, Andy Lavander, and Robin Nelson, 49–55. Amsterdam: Amsteradam University Press, 2010.
Kwastek, Katja. Aesthetics of Interaction in Digital Art. Katja Kwastek, 2013.
Malita, Liviu. Extremele Artei. Editura Accent, 2010.
McLuhan, Marshall. Understanding Media : The Extensions of Man. New York : McGraw-Hill, 1964.
Mullis, Eric. “Dance, Interactive Technology, and the Device Paradigm - ProQuest Central - ProQuest.” Dance Research Journal 45, no. 3 (2013): 111–24.
Powell, Benjamin D., and Tracy Stephenson Shaffer. “The Haunting of Performance Studies.” Liminalities: A Journal of Performance Studies 5, no. 1 (2009).
Rapaport, Herman. “Intermedia: A Consciousness-Based Process. Hans Brader in Conversation with Herman Rapaport.” PAJ 99 99 (2011): 11–23.
Runcan, Miruna. “Teorii Ale Receptarii Spectacolului_suport 2011,” 2011.
Schechner, Richard. Performance - Introducere Și Teorie. București: Unitex (Uniter), 2009.
Spence, Jocelyn, Stuart Andrews, and David M. Frohlich. “Now, Where Was I? Negotiating Time in Digitally Augmented Autobiographical Performance.” Journal of Media Practice, January 6, 2014.
Udsen, Lars Erik, and Anker Helms Jørgensen. “The Aesthetic Turn: Unravelling Recent Aesthetic Approaches to Human-Computer Interaction.” Digital Creativity 16, no. 4 (January 10, 2005): 205–16. doi:10.1080/14626260500476564.
      Back to previous page