The Nether Worlds of Jennifer Haley — A Case Study of Virtuality Theatre
| dc.contributor.advisor | Najjar, Michael | |
| dc.contributor.author | Yeadon, Michelle | |
| dc.date.accessioned | 2018-09-06T21:55:00Z | |
| dc.date.available | 2018-09-06T21:55:00Z | |
| dc.date.issued | 2018-09-06 | |
| dc.description.abstract | Studies exploring the first wave of digital performance foregrounded technology by cataloging experimentation and novel interactions between liveness, projections and code. As exercises in medium, these high tech spectacles demonstrate the aesthetic potential of digital media while introducing key media concepts. Jennifer Haley is a writer with one foot in theatre and one in code. She is uniquely positioned in two interdependent spheres, which makes her particularly suited to engineer a theatrical bridge into the virtual, because at the heart of the contemporary technological revolution is a new level of writing and media literacy. Theatre has been effectively accessing the virtual imagination for millennia, and new technologies create new intricacies for engaging the virtual within theatrical space. Each is a medium defined by action, which host other media, and provide in depth simulations. Haley’s plays push beyond the fascination and spectacle of technology to incorporate the mundane reality of the digital into the structure of her work. Haley writes plays specifically to resonate with the similarities she sees between theatre and virtual worlds. Utilizing techniques and tropes from other media and then framing the narrative from within a theatrical world Haley exploits the essence of an active, critical audience and opens a dialog between virtual worlds and the perceptions of the audience. She treats her media generated worlds as places. Other digital theatre plays may peer through a window into the virtual by dramatizing a conversation through media; Haley sends an expedition over the threshold into another world. A flesh version of an avatar breathing before the audience establishes a material existence unattainable in two dimensional screen media. Haley illuminates the constructed nature of mediatized communication, but she does it dramaturgically deemphasizing the technology and re-centering the human within the virtual drama. Her approach builds a metaphorical bridge between theatre and virtual digital realities. Through a close reading of Haley’s plays I will demonstrate how Haley takes the artistic next step for computer technology and theatre. | en_US |
| dc.identifier.uri | https://hdl.handle.net/1794/23726 | |
| dc.language.iso | en_US | |
| dc.publisher | University of Oregon | |
| dc.rights | All Rights Reserved. | |
| dc.subject | Digital humanities | en_US |
| dc.subject | Dramaturgy | en_US |
| dc.subject | New media | en_US |
| dc.subject | Paula Vogel | en_US |
| dc.subject | Playwriting | en_US |
| dc.subject | Video games | en_US |
| dc.title | The Nether Worlds of Jennifer Haley — A Case Study of Virtuality Theatre | |
| dc.type | Electronic Thesis or Dissertation | |
| thesis.degree.discipline | Department of Theater Arts | |
| thesis.degree.grantor | University of Oregon | |
| thesis.degree.level | doctoral | |
| thesis.degree.name | Ph.D. |
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