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Transcript
A Conceptual Kaleidoscope: Arts Education, Audience and
Technology
Amy Roberts
UOIT 2015
A brief video interlude
The word “aesthetics” is derived from the Greek word
aisthanesthai, “to perceive, to feel”.
Sakellaridou (2014)
sees theatre as live
and human, in need of
its people or it faces
certain death; and
web-theatre as a
“dystopian alterative,”
a “phantasmatic,
posthuman, virtual
cyberstage.”
LIVENESS
In Baker’s (2013) research comparing the audience experiences at
both a live theatrical event and simultaneous live-stream of the
same theatrical event, audiences in both counted their experience
as live. The key was that it was happening in real time.
INTERCONNECTIVITY
As Shakespeare wrote in As You Like It, “All the world’s
a stage, and all the men and women merely players,”
highlighting with poetical finesse the theatre’s
examination of human connectivity.
Location Considerations
Anderson, Cameron and Sutton (2012) articulated, that
digital technologies are part of the fabric of our culture
and communities, part of how we connect and
communicate, and warrant critical attention. What
better way to critically examine our current history than
through theatre, created with and performed through
the technology it is examining.