Advertisement

fanSHEN’s Looking for Love: A Case Study in How Theatrical and Performative Practices Inform Interactive Digital Narratives

  • Daniel BarnardEmail author
Conference paper
Part of the Lecture Notes in Computer Science book series (LNCS, volume 11318)

Abstract

This paper explores how theatrical and performative practices inform interactive digital narratives. It does this through a case study of Looking for Love, a new piece by fanSHEN. The creative process used to create Looking for Love is analysed in terms of its roots in theatrical processes, particularly in terms of characterization, the relationship between structure and improvisation, dramatic arc and the role of the spectator.

Keywords

Interactive digital narratives Interactive theatre Performance fanSHEN Looking for Love Joe McAlister 

References

  1. 1.
  2. 2.
    Benford, S., Giannachi, G.: Performing Mixed Reality. The MIT Press, Chigago (2011)Google Scholar
  3. 3.
    deLeon, C., Dohogne, P., Magerko, B.: Employing fuzzy concept for digital improvisational theatre. In: 7th AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment. AAAI Press, Menlo Park, California (2011)Google Scholar
  4. 4.
    Fuller, D., Magerko, B.: Shared mental models in improvisational performance. In: Proceedings of the Intelligent Narrative Technologies III Workshop on - INT3 2010 (2010).  https://doi.org/10.1145/1822309.1822324
  5. 5.
    Swift, E.: What do audiences do? negotiating the possible worlds of participatory theatre. J. Contemp. Drama English, 4(1), 134–149. De Gruyter, Berlin (2016).  https://doi.org/10.1515/jcde-2016-0011
  6. 6.
    Machon, J.: Immersive theatres: intimacy and immediacy in contemporary performance. Palgrave Mamillan (Basingstoke) (2013)Google Scholar
  7. 7.
  8. 8.
    Bradwell, M.: Inventing the Truth: Devising and Directing for the Theatre. Nick Hern Books, London (2012)Google Scholar
  9. 9.
    Batson, S.: Truth: Personas, Needs, and Flaws in the Art of Building Actors and Creating Characters. Webster/Stone, New York (2014)Google Scholar
  10. 10.
    Mateas, M., Stern, A.: Façade: an experiment in building a fully-realized interactive drama. In: Game Developers Conference, San Francisco (2003)Google Scholar
  11. 11.
    Mateas, M.: Expressive AI: A Hybrid Art and Science Practice. Art Gallery Siggraph, New Orleans (2000)Google Scholar
  12. 12.
    Freytag, G.: Technique of the Drama: An Exposition of Dramatic Composition and Art. S.C Griggs & Company, Chicago (1896)Google Scholar
  13. 13.
    Petrelli, D., Wright, H.: On the writing, reading and publishing of digital stories. Libr. Rev. 58(7), 509–526. Emerald Insight, Bingley (2009).  https://doi.org/10.1108/00242530910978208CrossRefGoogle Scholar
  14. 14.
    Brecht, B.: Brecht on Theatre. Methuen, London (1978)Google Scholar
  15. 15.
    Alston, A.: Reflections on Intimacy and Narcissm in Ontroerend Goed’s Personal Trilogy. Performing Ethos, pp. 107–119. Intellect Journals, Bristol (2012)Google Scholar
  16. 16.
    Calleja, G.: In-Game - From Immersion to Incorporation. MIT Press, London and Cambridge, MA (2011)Google Scholar
  17. 17.
    Machon, J.: Immersive theatres: intimacy and immediacy in contemporary performance. Palgrave Mamillan, Basingstoke (2013)Google Scholar
  18. 18.
  19. 19.
    Chatzichristodoulou, M.: Karen by blast theory: leaking privacy. In: Broadhurst, S., Price S.: Digital Bodies. Palgrave Macmillan, Basingstoke (2017)CrossRefGoogle Scholar

Copyright information

© Springer Nature Switzerland AG 2018

Authors and Affiliations

  1. 1.London South Bank UniversityLondonUK

Personalised recommendations