In the realm of immersive performance, the intersection of technology and creativity is a burgeoning frontier. A recent practice-based investigation, spearheaded by Pavlos Panagiotidis, Jocelyn Spence, and Nils Jager, delves into the realm of authoring responsive light and sound environments without the need for traditional coding. This innovative approach leverages a modular system that seamlessly integrates live gesture, position, and speech inputs with scenographic outputs through a visual logic layer. This system is designed to be operated by performers themselves during rehearsals, democratizing the technological aspects of performance creation.
The research was conducted over six intensive workshops involving eight professional performance-makers. The workshops were structured to progress from parallel ensemble and technical training to a more integrated dramaturgy. The culmination of this process was a single-spectator scratch immersive performance, which incorporated interactive elements. The paper meticulously details the building blocks of the system and the arc of the workshops, providing a comprehensive overview of the methodology and outcomes.
A reflexive analysis of workshop video logs, post-workshop focus groups, and facilitator notes revealed three key ensemble-level strategies that made the technology workable within a hybrid devising and design practice. These strategies include rotating roles between operator, performer, and mediator; embracing controlled imperfection as a creative resource; and using technology-describing metaphors to support creative practice. These insights highlight the adaptability and creativity of performers when given the tools to interact with technology in a meaningful way.
The implications of this research are significant for the field of immersive performance. By removing the barrier of coding, the modular system allows performers to focus on the creative aspects of their work, enhancing the overall quality and originality of the performance. The strategies identified in the study can serve as a blueprint for future projects, encouraging a more collaborative and flexible approach to integrating technology in performance art.
Furthermore, the findings suggest that embracing imperfection and using metaphors can foster a more inclusive and innovative environment. This approach not only makes technology more accessible but also enriches the creative process. As the field of immersive performance continues to evolve, such research is crucial in shaping the future of how technology and creativity intersect, paving the way for more dynamic and engaging performances.
