Tells the story of the theatre blogosphere from the dawn of the carefully crafted longform post to today’s digital newsletters and social media threads.
Features 16 commissioned contributions from scholars, arts journalists and bloggers, as well as a small selection of innovative critical practice, sharing perspectives on relevant historical, theoretical and political contexts influencing the development of the discipline, as well as specific aspects of the contemporary practices and genres of theatre criticism.
Authors offer ways to fight today’s pervasive digital surveillance — the collection of our data by governments, corporations, advertisers, and hackers. To the toolkit of privacy protecting techniques and projects, they propose adding obfuscation: the deliberate use of ambiguous, confusing, or misleading information to interfere with surveillance and data collection projects.
Generally taking place in front of closed curtains during set changes between acts, the entr’acte delivers a fleeting new purpose and event to the otherwise sometimes inert space between stage and pit. This collection employs the entr’acte as a model for conceptualizing emerging formations of publics and of public space.
Examining the opportunities presented by the real-time generation of new, relatively unregulated content online, this publication evaluates the prominent role that new media has come to play in artistic practices – and social movements – in the Arab world today.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Lonergan argues that social media is itself a performance space, analysing how it's used by both theatres and audiences and also in connection with each other.