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DRAMA 04. Pervasive Games And Theater

DRAMA 04. Pervasive Games And Theater

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Imagine making non-theatre audiences thrilled with theatre. Imagine seducing spectators into playing with strangers in the city. Imagine audiences performing. Pervasive games and theatre offer renewed formulas in the age of game culture
through new media technology and open source philosophy that promise to shake the very foundations of theatre.
Imagine making non-theatre audiences thrilled with theatre. Imagine seducing spectators into playing with strangers in the city. Imagine audiences performing. Pervasive games and theatre offer renewed formulas in the age of game culture
through new media technology and open source philosophy that promise to shake the very foundations of theatre.

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Published by: Lara Sánchez Coterón on May 18, 2011
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05/18/2011

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drama nr.o4_2o1o67drama nr.o4_2o1o
 
pervasIve Gamesand TheaTre:
ParticiPation and oPen Source
Pevsive gig is  eeget gee iwhich titil, el-wl ges eugete with cputes (mgekuth,Chek, myk, & nilse, 2005, p. 1).
Gykh

scg h
,  i-stce, e titil ges tht c betce bck i histy  css civili-tis. But it is the pplicti  ititechlgies – Te Iteet, bile phes psiti techlgies – tht hve p- vke its pi plieti  evelpet(mtl, Stes, & We, 2009, p. xix).Pevsive ges
 p
the el wl;they use bjects, peple  itectis  the el wl s ply eleets. Tey  ttke plce   spce pt withi iy lie – u the tble (b ges), isie the stiu (spts),  thugh  c-pute itece (vie ges); they use theel wl s plygu  iy lies teil  ply.Tis successul ige  techlgy ge cultue hs tke t ly ges ut thei s it the el wl, but lsegge the uieces tht e iliwith ge cultue. Tey e excite t usethei ggets i  ew settig,  e lk-ig  ew wys  etetiet tht eee  csts  tuly pticipty. Sicethe tu  the cetuy, pevsive ges ebecig icesigly ppul i the WesteWl, ges beig gie ll ve the US,C, austli  Eupe. I Sci- vi, Swee  Fil e the st eggewith this icesig phee.Itective Tete is  gee tht uses  v-ie ge  sttegies t bek the “uth-wll” tht septes cts  uiece. Itis t iclue the uiece i the cetivepcess veblly  physiclly, s tht thethete piece is  esult  the itecti be-twee cts  uiece -the  thee-t  pe-bicte piece i which the ui-ece is  ee eceive  the essge eig tht seby else hs cveye.Sttegies y g  pviig pe-ce suggestis (ipv. thete), bec-ig chctes i the pece (uthete), hlig pps, etc.
Pervasive theatre
Pevsive thete is theitecti  pevsive ges  itec-tive thete. It is  hybi , which glis t ke pticipts egge i tistic c-tivities s  esult  thei itecti withthe eviet  with ech the.
 
Es-ily put: pevsive thete is shpe s  gewith  stg tistic ge.
B Toy
is s  the st successulthete gup / tist cllective tht hs beecetig ges  the lst te yes, eceiv-ig tteti  uieces, ei cei. ag the st us puc-tis we 
C yo   ow? 
(2003),
r spok
(2007), 
dy o h Fg
 (2007), stge i ewe thete tuig veues such s the Bbic thete i L-
img mkg -h s hll wh h. img sgsps  plyg wh sgs  h y. img s pfmg.Pvsv gms  h ff w fmls  h g f gm lhgh w m hlgy  p s phlsphy h pms shk h vy fs f h.
elena Perez  mí e Pé roíg   Phd-c (2009-2013)  h dp o a()  m s, ntnu. sh  o  pco; xpg wh how w  choogy bg pp o copoy h  poc. shc Ch rco ogh wh oh g  g wh o  g chohp  uC Bky  2009.
EKS: ELEna PErEz
, the Hebbel  Ue thete i Beli, the ntil museu  Sigpe.Te pucti  pevsive thete ges is t liite t estblishe tistsgups  ge esig cpies. It is theplyes theselves – gie ue theplt  vius cllective ge gi-tis bse  the Iteet (i.e. SFze.g  atibe.g) - tht puce thest successul  ppulte ge evets.as  exple,
 Joy o h e o hngh 
gthee ve 600 plyes i the Hl-lwee evet i S Fcisc 2009. Tissituti stte  ew yes g whe ply-es, ecuge by ) use  ew ei, b) use  the city s plt  ply - sppse t hvig t pg gphics cpute itis - tue the tbles sw the pssibility  pucig theiw etetiet the th hvig tpy  it. Exples  pevsive ges thete gie by gups utsie  thecultul istitutis e
 Joy o h e o h ngh 
(Kiu-Bli, mh, & Lvige,2009) 
Ch rco
(Pee rigue,2009), espectively.
 Why the game?
Ges, i the geeic sese the te, e t ew t thete pctices;they hve lwys bee pt  thete k-ig pcesses. Hweve, they hve lwysbee use s  tl t ccess the cetivity ecessy t kig thete, which hppese the ges. I evise thete,  i-stce, ges e use s
 co
, -ty ely steps tht cete  tsphee, ,  sese  belgig t  gup thtke the cts ey  pe t the tuethete-kig situti i which piecese put tgethe t ke  whle pucttht is the shw t  uiece. I Pev-sive Tete,  the the h, the ge

 the i evet.Why is thete beig e s  ge sexplicitly? Wht es the ge eleet t thete?  begi with, ges lwe thetheshl  pticipti. Plyes - s p-pse t spectts - ust ct ctiuusly thugh the whle  the evet t ce tlie. Tis is e  the st uique etues ges, s Espe aseth puts it;
G  boh objc  poc; hyc’ b   x o  o  c,hy  b py. Pyg  g, o coc k h ppc  o . T c o   c-y g  h  o g (ah,2001, p. 2).
Secly, ges ke itecti with th-e plyes tul  eigul, whichesults i vey plest scil expeieces.
G g g b o pop  o-o o c,  y oo  o o o,   hghy  cpo xpo h ow ch py  o q xpc (a, 2009, p. 237).
Tily, ges ecuge plyes t isply tsgessive behvi  e t  thigsthey wul eve  i eveyy-lie situ-tis (Peb, 2007), (Pée rígue,2010). Beig withi the gic cicle  thege, tht is, cplyig t the ules  thege, t t the ules  the wl – plyese ble t vece ebsset, e  iicule  vius isecuities tht ceup the et they e ske t be cetivei  thete situti.
raVErSInG HE CIY:
 a py   bk wh  o cop o h hb  B Toy’ r spok. (Phoo: B Toy)
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dRAMA & ny TEknoLogi
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dRAMA & ny TEknoLogi

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