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[특별기고] Live and Technologically Mediated Performance * Philip Auslander 1) The material I shall present today derives in part from the work of preparing the second edition of my book Liveness: Performance in a Mediatized Culture, which was published by Routledge in 2008. The first half of this presentation restates some of the themes from the first edition of the book, with some updates and reworkings from both the second edition and other of my writings, and hints of new ideas. The second part is a case study that does not appear in the book but that I discuss in my contribution to the Cambridge Companion to Performance Studies, entitled "Live and Technologically Mediated Performance." At heart, the question of liveness is a question of bodies, of bodies made physically present to one another--or not. For some, such as performance theorists Peggy Phelan and Herbert Blau, liveness is a question not just of physicality but of mortality, of the sense that the body and the person, like the performance, are disappearing even as you watch them and watching them is a rehearsal for one’s own eventual disappearance. Liveness is also a question of the technological * Georgia Institute of Technology 270 한국연극학 제42호 mediation of bodies, the deployment of bodies in relation to one another across a grid defined by temporal and spatial vectors. As the French term for “live,” en direct, suggests, live presence was direct, initially, but it is now articulated to an ever-expanding array of cultural media. And the question of liveness prompts consideration of non-human bodies: Are there bodies other than human ones that can be said to be “live”? Because the distinction between live and technologically mediated performance remains a fundamental and culturally stratifying distinction, it is important to interrogate it directly. Theatre is different from all other forms of theatrical presentation because it is live. … ‘At the heart of the theater experience, then, is the performer-audience relationship: the immediate, personal exchange; the chemistry and magic which gives theater its special quality.’ As a starting point for the journey, I use this quotation, from an introductory course document prepared by Professor Kaoime Malloy, to stand for what I shall call the traditional view of live theatrical performance. The key word is immediate, which suggests that the traditional definition of live performance is founded on an opposition between the immediate and the mediated. From this perspective, the performer/audience relationship in film, for instance, is thought to be mediated by the camera and the rest of the filmic apparatus; in the theatre, by contrast, this relationship is seen as one of direct and unmediated physical co presence. Such distinctions are largely commonsensical. Whereas stage actors can appropriately be considered the “authors” of their performances, film actors cannot. As the actor Willem Dafoe emphasized when I interviewed him, film actors basically provide raw material that is shaped into performances by directors and editors and therefore need not be as concerned about the through-lines of their performances as stage actors. Audiences witness theatre actors in the