The art of theatre has been around since sometime during the 6th century BC, beginning in Greece. Since then, different traditions of performance have moved across the world being influenced by other cultures. Theatre creates a world that people can escape to. They can forget about reality for the time being, filling themselves with the stories that they are telling or are being told. Technology hasn’t always played a role in the art of theatre, however lately that has been changing, with more and more incorporation of the internet and technology being present.
Speaking to my mum about the influence of technology on theatre, she mentioned that she can now go onto the MTC homepage or other theatre company websites and watch trailers for certain …show more content…
This technique was first introduced by British director, Mark Wing-Davey. On her website is states that since 2001, Oades has created performances using “carefully constructed audio recordings”. Her process involves an “extensive collection phase, during which she draws material from a variety of audio sources including interview, media and found recordings.” Throughout the performance, her technique entails the actors to wear headphones, in which they are fed an audio-script. The actors recite the script as immediately as possible, like a musician following a music score. This includes every stutter, cough, pause and stumble. The end result that Oades wishes to have, is “a hyper-natural form of documentary theatre that evokes the essence of the audio source with fidelity”, regardless of the gender, age, or race of the original …show more content…
Without it, the ‘Headphone Verbatim & Audio Scripting’ would not be possible. I have never seen a play that incorporates this technique, however I believe that it would be an incredible interesting and rewarding performance to watch. In an article written by Caroline Wake, titled The Politics and Poetics of Listening: Attending Headphone Verbatim Theatre in Post-Cronulla Australia, it states that audience members have said that the effect is “somewhere between acting, ‘being’, and possession.” As we can assume, being in the audience would be a different experience to being in the audience of a regular theatre show. Instead of completely connecting with the performers, the audience has to somewhat ignore the headphones yet know that they are a crucial part of the
Speaking to my mum about the influence of technology on theatre, she mentioned that she can now go onto the MTC homepage or other theatre company websites and watch trailers for certain …show more content…
This technique was first introduced by British director, Mark Wing-Davey. On her website is states that since 2001, Oades has created performances using “carefully constructed audio recordings”. Her process involves an “extensive collection phase, during which she draws material from a variety of audio sources including interview, media and found recordings.” Throughout the performance, her technique entails the actors to wear headphones, in which they are fed an audio-script. The actors recite the script as immediately as possible, like a musician following a music score. This includes every stutter, cough, pause and stumble. The end result that Oades wishes to have, is “a hyper-natural form of documentary theatre that evokes the essence of the audio source with fidelity”, regardless of the gender, age, or race of the original …show more content…
Without it, the ‘Headphone Verbatim & Audio Scripting’ would not be possible. I have never seen a play that incorporates this technique, however I believe that it would be an incredible interesting and rewarding performance to watch. In an article written by Caroline Wake, titled The Politics and Poetics of Listening: Attending Headphone Verbatim Theatre in Post-Cronulla Australia, it states that audience members have said that the effect is “somewhere between acting, ‘being’, and possession.” As we can assume, being in the audience would be a different experience to being in the audience of a regular theatre show. Instead of completely connecting with the performers, the audience has to somewhat ignore the headphones yet know that they are a crucial part of the