https://www.sociallydistantperformance.com/audience daily 0.75 2020-12-28 https://www.sociallydistantperformance.com/audience/obkgdapsuxyl6s0agfhqzcjkvqgbyz monthly 0.5 2020-12-28 https://www.sociallydistantperformance.com/audience/simulated-audiences monthly 0.5 2020-12-28 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1605738271088-UWOX7L0ZCD4J17LWF9UU/simulated+audiences Audience - Caught on Camera: Simulated Audiences – for a Price Image: Phillies Fan Photo Cutouts advertisement https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1606839569750-UU3X2C48JZ1TBUEET98F/WWE+ThunderDome Audience - Caught on Camera: Simulated Audiences – for a Price Image: WWE ThunderDome https://www.sociallydistantperformance.com/audience/simulating-peachtree monthly 0.5 2020-12-28 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600829481611-1ZPDSEYI69FUISN69HRS/Cathedral+of+St.+Philip Audience - On a New Track: Simulating the Peachtree Road Race Image: Run-by Blessing of the Peachtree Road Race, John Boydston https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600829658109-BAMUFZ68BTKK8KZXQXET/blessing+peachtree+road+race Audience - On a New Track: Simulating the Peachtree Road Race Image: Blessing by Dean Candler of the Peachtree Road Race https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600829045368-J29QQXRVXV58BJIDQT2Q/peachtree+2016 Audience - On a New Track: Simulating the Peachtree Road Race Image: 2016 AJC Peachtree Road Race, Paul Kim for Atlanta Track Club https://www.sociallydistantperformance.com/audience/9dmaxxgafpe2dqofzxq3peo0x9m2tj monthly 0.5 2020-12-28 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593744704631-9TFIH4TGFSQGGOUZN8BX/Annotation+2020-07-02+195111.jpg Audience - Neuroscience Sheds Light on Audio THEATRE’S Ability for Audience Engagement Image: Brain Viewer by Alexander Huth. 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A GINGERBREAD THEATRE KEEPS THE LIGHTS ON - Make it stand out far house right of Dr. Essin’s 2021 gingerbread theatre https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/449554fd-4c2d-4ab4-9289-7c4200d2a401/building+detail+gingerbread+theatre Design - A GINGERBREAD THEATRE KEEPS THE LIGHTS ON - Make it stand out detail on the outside of the building of Dr. Essin’s 2021 gingerbread theatre https://www.sociallydistantperformance.com/design/gingerbread-theatres monthly 0.5 2021-01-04 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1608860366776-D6KIKQZF0V3PTPFBLZZJ/2014%2C+Globe+pattern.jpg Design - Gingerbread Theaters for a Virtual Winter (Featuring an interview with Dr. E. 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Jared Mezzocchi  https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1597288336895-NTAKJTWAFRX6I51Y56KJ/Screenshot+%2820%29.png Interviews - Jared Mezzocchi  Image: Sample class from The Digital Renaissance Project https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1597288284160-6EU6HD43THM6WSXYEG3E/Screenshot+%2819%29.jpg Interviews - Jared Mezzocchi  Image: Sample dashboard from The Digital Renaissance Project https://www.sociallydistantperformance.com/interviews/virginia-grise monthly 0.5 2020-08-07 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1596154629651-GS7E91DS7IEYHMQI9SRF/Photo+Credit_Netza+Moreno.jpg Interviews - Virginia Grise https://www.sociallydistantperformance.com/interviews/ethan-heard monthly 0.5 2020-08-17 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1596131930748-GUCH6Y6BKLFPVI7PU26H/Ethan+Heard+headshot2.jpg Interviews - Ethan Heard https://www.sociallydistantperformance.com/interviews/rgpu6ltkzvdiraow8kzawgkr8lt37d monthly 0.5 2020-07-29 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1596045854884-EX527M09F2QPFF1QHTXN/ferris.jpg Interviews - MATT DAVIS Play Brawl scene re-enactment from Ferris Beuller’s Day Off https://www.sociallydistantperformance.com/interviews/8s1pffhkjo8vkyjpyyth846rga5esc monthly 0.5 2021-01-12 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1595951653508-VX3EXT7PZ4YEYA2SG7BG/Aaron+Landsman+Headshot.jpg Interviews - Aaron Landsman https://www.sociallydistantperformance.com/interviews/zabsjnnye49lyt4731cww9fqxq9omz monthly 0.5 2021-01-12 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1595484015940-WBA6QJJB8WLJDQPVAVU8/KlaxPromo6b.png Interviews - Ben Beckley and Asa Wember Image from KlaxAlterian Sequester Instagram https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1595538473579-KS8C1JEFA4G8HQNEU4Z2/Annotation+2020-07-23+140736.jpg Interviews - Ben Beckley and Asa Wember Photos courtesy of Ben Beckley and Asa Wember https://www.sociallydistantperformance.com/interviews/iyvon-edebiri monthly 0.5 2020-07-24 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1595122806954-5QL8PFSZ43YMACIARBXO/Screen+Shot+2020-07-18+at+9.39.33+PM.png Interviews - Iyvon Edebiri https://www.sociallydistantperformance.com/interviews/sarahganher monthly 0.5 2021-01-12 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1594833830837-LY9SJX4UEGEFUX3QPCPG/Screen+Shot+2020-07-15+at+1.23.08+PM.png Interviews - Sarah Gancher https://www.sociallydistantperformance.com/interviews/joshuawilliamgelb monthly 0.5 2020-07-31 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1594655174218-VGV8R1R8NPOMCQYT99FF/TiQ+Hypochondriac+1+-+Joshua+William+Gelb.png Interviews - Joshua William Gelb TiQ Hypochondriac 1 - Joshua William Gelb https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1594654428438-WN0BV42CW3G77HDZWPAW/TiQ+-+Topside+-+by+Scott+R.+Sheppard+-+featuring+Joshua+William+Gelb.png Interviews - Joshua William Gelb TiQ - Topside by Scott R. Sheppard - featuring Joshua William Gelb https://www.sociallydistantperformance.com/interviews/michellelivigne monthly 0.5 2020-07-24 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1594148094125-6ZR57IU7RIZOMDJI1OCW/Michelle+Livigne Interviews - Michelle Livigne Photo by Chris Vers https://www.sociallydistantperformance.com/interviews/richard-biever-and-james-ruth monthly 0.5 2020-07-31 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593874474482-DA6VS5JT1G0SOFMMRMD9/Screen+Shot+2020-07-03+at+10.10.31+PM.png Interviews - RIchard Biever and James Ruth Into the Woods by Richard Biever and James Ruth https://www.sociallydistantperformance.com/interviews/7yxtc2ziil5svo10yh2v56z73kqube monthly 0.5 2020-07-31 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593652335994-HZPILRW1B8BC8JZ6SA2J/Cerise_Jacobs+photo+2.jpg Interviews - Cerise Lim Jacobs Cerise Lim Jacobs https://www.sociallydistantperformance.com/interviews/katie-pearl monthly 0.5 2021-01-12 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593532650563-7IPE6ICMWGAR8C6O5HFJ/katie-statesboro.jpg Interviews - Katie Pearl Katie Pearl https://www.sociallydistantperformance.com/interviews/worldbeneathinterview monthly 0.5 2021-01-12 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593407357470-Q5F0OXLMJF5TSCWWX6R4/Headshot%2BJillian%2BJetton.jpg Interviews - Mieke D, Tony Moaton, And Jillian Jetton Jillian Jetton https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593407282646-0JM18F0ADY8BVIIFF2YS/image-asset.jpeg Interviews - Mieke D, Tony Moaton, And Jillian Jetton Mieke D https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593407319268-F37SJXF6E3HC851TCL4K/image-asset.jpeg Interviews - Mieke D, Tony Moaton, And Jillian Jetton Tony Moaton https://www.sociallydistantperformance.com/interviews/tag/college 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This continually updated website is a place to create community, share information, inspire invention, and document the expanding art form, with an emphasis on sharing the tools and techniques of a reimagined trade. https://www.sociallydistantperformance.com/team daily 0.75 2022-03-10 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593188317845-4ZZ6ZOGD8ZPVV4CO94IV/sowing+cyber-seeds+by+katharine+matthias.gif Team Home page: Puppet Flowers grow in Cyberspace Current: Sowing Cyber Seeds both by Katharine Matthias https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593299105586-5U1NOS5UZ2WJIVLSMNM1/Katharine+photo.jpg Team - KATHARINE Matthias Katharine Matthias (she/her) is a writer, director, and scholar interested in dissolving the boundaries between artistic disciplines. She is passionate about finding a sense of play in her work. She has recently worked on White Snake Project’s A Survivor’s Odyssey, McCarter Theatre Center’s The Manic Monologues (Drama League Nomination), Virginia Grise’s a farm for meme, and NBC’s broadcast of the Tokyo Olympics. She co-wrote the article “Puppeteering Liveness: Reimagining Theatre for a Virtual Space,” published in the August 2021 edition of the academic journal Theatre Topics. Additionally, she has worked as a director, playwright, performer, and designer for dozens of projects at Princeton University’s Lewis Center for the Arts. She currently works in Film and TV Development at an independent production company based in New York and London. She is a recent graduate from Princeton University with a degree in Comparative Literature and a certificate in Theater. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593299216301-6I998PHOAEMCJTX1L4E6/Araoz_Elena_8435_xret%25283%2529%25281%2529.jpg Team - ELENA ARAOZ Elena Araoz is a stage director of theater and opera, as well as a writer, choreographer, and performer. She works internationally, Off-Broadway, and across the country. She is a faculty member in the Program in Theatre at Princeton University. This summer, she will direct the live virtual CGI and motion capture opera Alice in the Pandemic (White Snake Projects) and a virtual production of Virginia Grise’s a farm for meme (Cara Mia Theatre). In this time before her currently postponed productions return to their stages, this research project is fueled by Elena’s passion for innovation in the theatre. She is particularly interested in developing systems to redistribute resources and opportunities within the field and democratize theatre making and consumption. She also hopes that this research will unlock new structures of storytelling for her. Elena holds her MFA in acting from the University of Texas at Austin. www.elenaaraoz.com https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/8e2e7555-7b01-4055-92fc-c6819ecc4749/Bt.jpg Team - BT Hayes BT Hayes is a rising junior from Pittsburgh, PA majoring in Comparative Literature. She enjoys performing, directing, designing, and writing work, especially when it involves comedy, science fiction, translation, and the absurd. This summer, she received support from Princeton’s Program in Translation and Intercultural Communications to translate between English and Spanish for Alejandro Ricaño’s play El amor de las luciérnagas and Charles Mee’s Big Love. She also is learning German, Portuguese, and Modern Greek, often experimenting with the interplay between languages. A firm believer that accessible, equitable theatre is a crucial space for protest, community, and possibility, she is excited to explore the boundaries of theatre’s structure, definition, relevance, and purpose. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/54b5f9a2-015e-4e62-b747-8883b83e5e0e/Eliyana+Abraham.jpg Team - Eliyana Abraham Eliyana Abraham is a junior at Princeton University studying Neuroscience with certificate studies in Theater and Music Theater. Eliyana views theatre-making through a lens of process over product. She creates projects that lead with cultural inquiry and engage critically with history through modern lenses of queerness and anti-racism. She seeks to overcome the impossible challenge of making theatre that transcends time and place, while being connected to the here and now. Eliyana’s studies in Neuroscience underscore her theatrical work as she aims to understand the intersection between cognition and art-making and the ways that art-making can shape neural development. She works as a director, performer, producer, movement-maker, educator, and sound designer. Her recent productions at the Lewis Center for the Arts include directing the original work Vestalia by Lydia Gompper, performing as Lia in the original work Lia by Meigan Clark, performing as a contortionist in Take Care: Collective Circus Project, and performing as Setsuko Banks in Velina Hasu Houston's Tea. Eliyana is the child of immigrants from Urumqi in Xinjiang, China, and she speaks Uyghur and French. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/0b40f51a-0e12-415d-a37e-0a10c07a493c/IMG_0658%281%29.jpg Team - Miranda Allegar Miranda Allegar is a rising senior at Princeton University, based out of Houston, Texas. She is majoring in the School of Public and International Affairs with minors in Theater and Cognitive Science. Miranda views theater-making through the lens of community and service to both the self and others. She is deeply interested in intersections – of culture, of identities, and of disciplines, focused on the impact of communication and language on interpersonal connection, and delighting in the synchronicity between her seemingly-disparate fields of interest. Miranda has worked as an actor and community coordinator for projects at the Lewis Center for the Arts (LCA) and spent the summer of 2019 in the Public Works department of New York’s Public Theater, assisting in the world premiere of the stage adaptation pageant of Disney’s Hercules. This fall, she will act in and serve as dramaturg for a production of The Wolves at the LCA alongside Katharine Matthias. She is interested in exploring the power of theater in community-building, especially across the boundaries of space, time, and lived experiences. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/9b800ad6-4ebc-4122-a6c5-c33472f13177/Kate+Semmens Team - KATE SEMMENS Kate Semmens is a junior from Brooklyn, NY, studying History with minors in Music Theater, Theater, and American Studies. Kate’s academic research looks at the intersection of history, women’s studies, religion, and American culture. She brings her specific interests in the women’s suffrage movement, Broadway, and Hollywood of the 1920s to her theater-making. Kate is primarily a director, movement maker, actor, and producer. Some of her favorite recent projects include devising and directing through the 2020 Hangar Theatre Lab Company, acting in A Little Night Music, and producing and acting in the Princeton Triangle Club’s virtually filmed movie-musical All Underdogs Go to Heaven. Kate works to create theatre that builds community, encourages people to step out of their comfort zone, breaks down theatrical expectations, engages directly with the audience, and embraces interdisciplinary performance and design. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593299127343-6KELEDOHPVXHRV5Z80TP/Portrait.jpg Team - Reed Leventis Reed Leventis is a rising junior at Princeton University and is currently based in Washington D.C. He is majoring in Ecology and Evolutionary Biology with minors in Global Health and Theater. He particularly enjoys working in the design and technical aspects of theater. Reed is an active designer at the Lewis Center for the Arts (LCA) with past projects including lighting design for Macbeth, set design for Mother Courage, and lighting design for Twelfth Night. Reed has a specific interest in the intersection of medicine and the arts. Currently, he is working on an art installation that details disparities in medical care access through the stories of underserved individuals and the professionals who work to improve the healthcare system from within it. He is also fluent in Spanish, and hopes to promote the decentralization of the English language within the American theater canon. Reed is a staunch supporter of utilizing theater for advocacy to positively influence current public policy and to reflect and shape today's social climate. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/faf1077e-e896-4b86-a07c-c124cc8d364d/Minjae+K.jpg Team - Minjae Kim Minjae Kim was born in Taiwan, born Korean, and sworn in Canadian. He currently lives in Toronto and is a rising senior at Princeton pursuing a major in English and a certificate in Theater. He enjoys working with the many different facets of theater-making, some of his favorite projects being sound designing Machinal, acting in Sister Mok-rahn, and set designing Intimate Apparel. In the upcoming school year, he is planning on writing and directing Korean Play, exploring the distance within a family, further exacerbated by generational and cultural divides. He is invested in bringing his experiences to the room, and as an Asian theater maker, is interested in developing works of underrepresented voices and the integration and normalization of Asian content into mainstream media. On this project, he designed this website and continues to do research on new theater productions. https://www.sociallydistantperformance.com/production daily 0.75 2021-01-04 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593183367616-E660PLSCVI5XTUXBCHQV/Covid+Storm+by+Elena+Araoz+%281%29.png Production Image: Covid Storm by Elena Araoz https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593378121332-36CHM8OZE8P6FLQ719VP/Lady+M+Audience+%282%29+by+Heartbeat+Opera+Company.png Production Image: Audience from Lady M by Heartbeat Opera Company https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593182881229-GX9EAVEU40U73DD5B8GI/Mapping%2Bmy%2BFace%2Binto%2BCyberspace.jpg Production Image: Mapping my face into cyberspace by Katharine Matthias https://www.sociallydistantperformance.com/process daily 0.75 2022-02-14 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593301241628-0RLUUOGTSNG94VJ4C9X8/Sing+Out+Strong_+DeColonized+Voices+by+White+Snake+Projects.JPG Process Image: Sing Out Strong: DeColonized Voices by White Snake Projects https://www.sociallydistantperformance.com/research daily 0.75 2021-04-20 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618937708926-CFGP2DG7KYISBA2LAMOX/Copy+of+farm+for+meme+5.jpeg Research Production still from a farm for meme https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593182962140-BOE1O5ZJCU3X7338EKG2/Covid+Masha+Mood+by+Elena+Araoz.png Research Covid Masha Mood by Elena Araoz https://www.sociallydistantperformance.com/chronicles daily 0.75 2020-07-07 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593301911473-UL5O43U8TJB7I2O5WWPE/Zoom+Meeting.png Chronicles https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593371106429-2Q9YW9W6I7YEYWWORLZB/A%2BWorld%2BBeneath%2Bthe%2BWorld%2Bby%2BMieke%2BD.jpg Chronicles A World Beneath the World by Mieke D https://www.sociallydistantperformance.com/contact daily 0.75 2024-08-20 https://www.sociallydistantperformance.com/searching daily 0.75 2020-07-01 https://www.sociallydistantperformance.com/rehearsal-practices daily 0.75 2020-08-14 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1597376823830-BVTBHG2MQ8X5LF8JHX80/Online+Rehearsal+best+practices_Page_2.jpg Rehearsal Practices https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1597376913237-G5D7F73D8J3SW5PZWL9G/Online+Rehearsal+best+practices_Page_6.jpg Rehearsal Practices https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1597376791166-3JLUMN5SWQ6A69IPXMZF/Online+Rehearsal+best+practices_Page_1.jpg Rehearsal Practices https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1597376878269-4DZZ8IUH0P4MIRZ2BNQB/Online+Rehearsal+best+practices_Page_4.jpg Rehearsal Practices https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1597376848940-AL3KSKSKBMDSQESVW8KI/Online+Rehearsal+best+practices_Page_3.jpg Rehearsal Practices https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1597376896715-CUDP04I9D87A2TQ61NAS/Online+Rehearsal+best+practices_Page_5.jpg Rehearsal Practices https://www.sociallydistantperformance.com/tools daily 0.75 2021-03-05 https://www.sociallydistantperformance.com/press daily 0.75 2024-08-20 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1616163723325-71U70ZMBJB41URRHGNN3/Educating+the+Next+Generation+of+Makers.png Press - ISDP At everything immersive’s spring fling Elena Araoz speaks as part of the "Educating The Next Generation of Makers" salon on the state of education of the immersive/site-specific/experiential for the HERE Summit and Festival, known for "covering big Ideas and celebrating revolutionary work in the Metaverse.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1613457416632-79VS2EBTLS6HX1O4GBBH/Website-Design-1.jpg Press - ISDP in American Theatre Magazine Jerald Raymond Pierce features The Manic Monologues and Innovations in Socially Distant Performance in American Theater magazine. In the article, Elena Araoz considers the importance of the virtual production The Manic Monologues during the pandemic and her process of conceptualizing and creating the experience. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1629998602075-U35CU5Z1W1OHVWW0M6W6/Screen+Shot+2021-08-26+at+1.21.30+PM.png Press - ISDP’s “notes from the field” is published in “theatre Topics” journal “Puppeteering Liveness: Reimagining Theatre for a Virtual Space” by Innovations in Socially Distant Performance’s Elena Araoz with Miranda Allegar and Katharine Matthias is published in the academic journal Theatre Topics (Volume 31, Number 2, July 2021, pp. 169-177, Published by Johns Hopkins University.) This “Notes from the Field” chronicles ISDPs virtual productions and the genres which inspired them, from Baroque scenography to Instagram magicians, to couture fashion shows. The essay posits that virtual performance, often a form of puppetry, even though it interacts with its audience through a screen, is indeed theatre. The journal has been declared free to read by the publisher during the COVID-19 pandemic. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600907309923-K74KEOZNJTW8WSBFIXVC/Neon+Green+and+Purple+Bright+and+Bold+Quotes+Social+Media+Post+%281%29.png Press - ISDP Launch Innovations in Socially Distant Performance is launched with support by Princeton University’s Lewis Center for the Arts in June, 2020. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1610127658497-H7V46FQ4M4DTK43UJ41H/op%252Bweb%252Blogo%252B2018%252Bbw%252Bw.jpg Press - ORchard Project’s Greenhouse Lab Elena Araoz speaks to Orchard Project's Greenhouse Lab about a virtual theatremaking practice. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1614009291634-9Q5XJAMUNOSUTOF6XA0R/ISDP+image Press - ISDP ARCHIVED BY THE UNITED STATES LIBRARY OF CONGRESS The website of Innovations in Socially Distant Performance will be archived by The United States Library of Congress. The Coronavirus Web Archive contains select web-based evidence to document the effect of the coronavirus pandemic on every aspect of American life and the many communities within the United States. Through the collection of web content from various sources such as government websites, blogs, scientific studies, artistic multi-media, news, and organizational initiatives, a wide range of Library of Congress subjects are represented. The Library will make this collection available to researchers at Library facilities and by special arrangement, and more broadly by hosting the collection on the Library's public access website. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1616163860501-QIDJY72BF2BJEO319YAU/OPERA%2C+TECHNOLOGY+AND+INNOVATION.png Press - ISDP at American Lyric Theater's OPERA, TECHNOLOGY AND INNOVATION seminar and roundtable Elena Araoz speaks at American Lyric Theater's OPERA, TECHNOLOGY, AND INNOVATION seminar and roundtable. The conversations will "explore some of the most exciting and increasingly accessible tools that are available to opera writers in creating new works, the challenges and opportunities of digital engagement through opera. and activating storytelling through user experience." https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600906135020-TJRQFSVPMEF54F0T4G6K/PngItem_2827342.png Press - Conversations with a Theater Maker at Princeton University The researchers of Innovations in Socially Distant Performance speak at Princeton University’s “Conversation with a Theatre Maker” about the research project. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1599599919154-M1SMTR2DSUNB8RTDSQHA/DDATA.gif Press - Digital and Distanced Advances in the Theater Arts DDATA (Designed via Canva) https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1633040874384-HTCMS4QSVU7ZG3CTQGMO/Keller+Center+Innovation+Forum Press - ISDP WINS SECOND PLACE AWARD and substantial funding at the Keller Center’s 16th Annual Innovation Forum Innovations in Socially Distant Performance won second place after competing in The Keller Center’s Innovation Forum, an event showcasing Princeton research with the potential to be commercialized. The Keller Center is Princeton University's hub for entrepreneurship, design and design thinking, social impact, and innovative engineering education. The competition consisted of a track for science and engineering innovations and a track for social sciences and humanities innovations. Elena Araoz, representing ISDP, demonstrated the practice and importance of forms of virtual theatre which maintain the live feedback loop between performer and audience. ISDP will use the awarded funding to create an interactive virtual opera, where live singers can hear and respond to the audience - fully capturing the live feedback loop that is at the heart of opera and theatre. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1617978374893-DAITQ66GPA40HXW6U43J/yLFVss5n.jpg Press - ISDP ON Ny1 Spectrum News Spectrum News NY1 features Innovations in Socially Distant Performance and The Manic Monologues in a report about bringing awareness to mental health through virtual theater. Click here to view the news story on the NY1 Spectrum website. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600906705017-Q4UFWFMXXSJ2NVHU299W/b_fuchs_ddata2.jpg Press - Wingspace salon’s “Performance during social distancing” Electric Flower Garden by Katharine Matthias https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1613457974817-2DF4D5EM9R2LDPMBP53Z/Untitled%2Bdesign.jpg Press - The manic monologues Innovations in Socially Distant Performance partners with McCarter Theatre Center, Princeton University Health Services, and The 24 Hour Plays® to create the online virtual theatrical experience The Manic Monologues. In a unique collaboration with director Elena Araoz and a team of designers and interactive web engineers, viewers to the platform will take a trip through the minds and personal stories of diverse individuals who have something to say about the way mental health has affected their lives. Audiences will be able to engage, at their own pace, with 21 uniquely filmed performances. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1610127436382-2HNJC4RHBYH65LKGDY26/brad3.jpg Press - DiVERSIfying the Classics Virtual Production Innovations in Socially Distant Performance is commissioned by UCLA’s “Diversifying the Classics” to create a virtual production of a non-British classic. ISDP has chosen Dr. Peter E. Thompson’s translation of the Spanish Golden Age entremés El retrato de Juan Rana to investigate where the classics fit in a digital landscape, what this technology can reveal in the classics, and how clown and comedy work online. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600906804263-0AC8PCCP7ZI3R6K3TSXP/2.jpg Press - ISDP in the New York Times The (Virtual) Theatrical Fringe Moves Front and Center by Jesse Green for the New York Times https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1614965333799-O7CRRRNO9NUCBBWLL3K4/Untitled+design+%283%29.jpeg Press - “A farm for meme” coloring book and sister gardens project Innovations in Socially Distant Performance is thrilled for the continued life of Virginia Grise's a farm for meme after our virtual production in August 2020. With the successful distribution of the limited print run of 1,000 coloring books, the piece grows through daily provocations from Grise’s production company, a todo dar productions (@atododarproductions), and leads up to the unveiling of Grise's new Sister Gardens project on March 20, 2021, the spring solstice, which also marks a year of pandemic shutdown. Watch out for more updates on this project over the coming weeks. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600905719665-RS3E87IXT6JPWIBV0WYZ/kisspng-fordham-university-rose-hill-campus-bookstore-ne-mike-williams-stack-overflow-5bf7b5293737d2.2301442715429604252262.png Press - “Teach in” at Fordham university Elena Araoz speaks alongside playwright Virginia Grise to the theatre program at Fordham University’s “Teach In” about the making of a farm for meme. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/ed14f559-41e9-4140-9982-611cc184fca4/Screen+Shot+2022-02-13+at+9.54.53+PM.png Press - ISDP HONORED as a Gold Award Winner from NASPA Excellence Awards Innovations in Socially Distant Performance’s virtual production of The Manic Monologues, created in partnership with the McCarter Theatre Center, Princeton University Health Services, and The 24 Hour Plays, has won the Gold Award for the 2021-2022 NASPA Excellence Awards in the category of Athletics Recreation Counseling Health Wellness. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1610127385519-5B1WAYRB4XMA1BP45SOP/Peachpuff+Brush+Stroke+Photography+Logo.png Press - ISDP AT THE MLA 2021 Convention Elena Araoz speaks at the MLA Conference on Friday, January 8th from 5:15-6:30pm EST for a discussion about the innovations and resiliency of theater and theater professionals during the pandemic. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1600906749197-IWDC10NNAE4OX3C0F1FC/3.jpg Press - A Farm For Meme a farm for meme by Virginia Grise. Directed by Elena Araoz https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1617375455862-M5CTF0UGOL2F9GPIQ7RH/IMG_2779.jpg Press - ISDP Nominated for drama league award Innovations in Socially Distant Performance was nominated for the prestigious DRAMA LEAGUE AWARD. ISDP partnered with the McCarter Theatre Center, Princeton University Health Services, and The 24 Hour Plays to create The Manic Monologues, an interactive theatre piece about mental health. The piece was nominated in the category of “Outstanding Digital Theater, Collection or Festival.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/9fdc855f-60bf-4b4d-beb6-b802338adcf4/The+Stage.png Press - ISDP FEATURED in LONDON’s “The Stage” Reporter for London’s The Stage, Howard Sherman, interviewed Elena Araoz about Innovations in Socially Distant Performance’s research and virtual theatre productions. The article takes Elena’s quote for its headline “‘Right now, virtual theatre is just like when silent film was invented’” and includes many virtual theatre-makers speaking about virtual theatre’s continued growth, even as in-person theatre returns. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1605069879280-XKPKUNSIF7FNDF5IZVGN/download-1.png Press - Conversation at NYU Tisch Elena Araoz speaks with Mia Rovegno’s class at NYU Tisch School of the Arts about how how virtual performance is site-specific work, and how virtual and socially distant performance can allow greater access and equity for audiences and artists. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1605069425893-GB6AA59ZS4S4S7KRQFXS/1200px-Mount_Holyoke_College_seal.svg.png Press - “Sonic Vanguard” speaker series at mount holyoke Elena Araoz speaks for Tian Hui Ng’s speaker series "Sonic Vanguard" at Mount Holyoke about latest practices in diverse corners of the musical world. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1604418774999-L5PIC9M4U95T8L9JZ9ZG/unnamed.gif Press - Alice in the pandemic Elena Araoz directs the world premiere of the virtual opera Alice in the Pandemic by composer Jorge Sosa and creator and librettist Cerise Lim Jacobs. The opera is the first to sync live singers in disparate locations, using CGI animation and facial motion capture. The Library of Congress will acquire Alice in the Pandemic for the Performing Arts COVID-19 Response Collection, stating "This exceptional work embodies the artistic qualities and subject content we are seeking for this special collection." https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1608668046618-R3UHJ971YZNYS7HC9W08/cropped-docperform3_banner_alexanderbell.jpg Press - Webinar with Docperform On February 16th, 2021, Elena Araoz spoke about “Internet Theater” for the UK-Based Documenting Performance (DocPerform) project in a conversation chaired by Dr. Joseph Dunne-Howrie from the Department of Library & Information Science, (CityLIS), at City, University of London. Araoz will be in conversation with other scholars about the internet as a performance medium and will develop “new discourses of ‘the digital’ beyond questions of liveness and ephemerality.” Access more information and register for the event here. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1603204778490-3ECWLLNCV7XRRLBDIZSA/new_ocra_logo_0.png Press - Conversation with scott Heller, Theater Editor at The New York Times, and Debbie Bisno, Resident Producer of the Mccarter theater Elena speaks as a guest for the Community Auditing Program at Princeton University, in conversation with Scott Heller, Theater Editor at The New York Times, and Debbie Bisno, Resident Producer of the McCarter Theatre about virtual theatre and the innovations it will bring to the theatre ecosystem https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1613490783642-PWYD64C25O4VFAVZP9VT/Untitled%2Bdesign.jpg Press - Panel at Brooklyn college Elena Araoz speaks on the panel "Performing Arts in the Time of COVID – What do we do now? How can we prepare for the future?" alongside Director of Institutional Giving at City Center Heather Gallagher and agent and producer Ron DeStefano for Leah Keith's "Artistic/Managerial Decision Making in the Arts" class at Brooklyn College MFA in Performing Arts Management. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1614967013763-YWUWCK2ODOZ19IR7QOZ9/Swell+with+text.jpg Press - ISDP Partners on swell Innovations to Socially Distant Performance partners with Melisa Tien on Swell, a live, online song cycle by and about ten composers who identify as immigrants/children of immigrants from countries as wide-ranging as Mexico, India, Israel, Japan, Trinidad, the Philippines, Russia, and Taiwan. Thirty artists are collaborating on this music-theater project, which will be presented by HERE March 17-21, with on-demand viewing available for 60 days after the live run. The program is accessible to the deaf and hard of hearing community via captions and ASL interpretation. https://www.sociallydistantperformance.com/is-it-film-or-is-it-theatre daily 0.75 2021-07-01 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618925382811-0MQQ25TK065YOZSWILZH/Photo+Credit_Netza+Moreno.jpg Is it Film, or Is it Theater? - Virginia Grise, Playwright and Theatre Maker “Why can't it be both? I think we have the opportunity right now to think about theatre in more expansive ways beyond the black box and the genre binary. How do different art forms and aesthetics inform each other, push up against each other, create something new? As theatre artists, we can cross the strict lines of what people think theatre is or is not and choose to remain infinitely curious about craft, content and form.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618925783903-6X9UY5SXET923WJ1WY2F/Screen+Shot+2021-04-20+at+9.36.08+AM.png Is it Film, or Is it Theater? - Lanie Zipoy, Creative Producer + Film Director "Binaries are fractionating because they don't serve the current moment, if they were ever useful. Theatre and film have danced with one another since the advent of the moving image. For generations, theater practitioners have brought live and pre-recorded video/film and projections into their stage work. Some artists have even shaped the same performance for the stage and for the screen (see Christiane Jatahy's What if they went to Moscow?), excavating the differences between the mediums and solidifying the similarities. My mother watched a filmed version of the stage musical Kinky Boots in a movie theater, and swears that what she witnessed while sitting in a screening room was theatre. Blindness, which opens in New York shortly, utilizes lights and sound for a live audience, but there is no live performer in the space, only pre-recorded narration. We are grappling with what virtual theatre is simply because of the speed of its proliferation due to the global pandemic. Film has gone through a transformative process over decades, allowing its audiences to gradually experience the shift in its many different forms–movie theater, drive in theater, VHS, and now on any device you want. The acceleration of virtual theatre coupled with the lack of live performing arts has destabilized audiences–making us define something that is in the midst of becoming, that is in process. I am intrigued by what's next, by how we utilize our theatrical tools in service of storytelling, and by offering artists substantive work. Virtual theatre doesn't need to be film or theatre. It can contaminate both spaces simultaneously or one or the other. It just needs to meet the imagination of its creators, grab the attention of its audiences and support its makers. Let's celebrate this moment, born out of necessity. How exciting to be in this present period where there are boundless ideas, creative reframing of theatre in the virtual space and the potential of the democratization of performance and artistic work." https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618925526368-G4S6T4GB9UPNQRWEUQBH/Screen+Shot+2021-04-20+at+9.31.12+AM.png Is it Film, or Is it Theater? - Katie Rose McLaughlin, Choreographer, Director and Co-Creative Director of Theater in Quarantine “Virtual Theater, as long as it is live, is theater and not film. In film you can do many takes and you can also edit what you shot in post to make it into something else. You can utilize film techniques in creating virtual theater, create and manipulate your shots the way a filmmaker would, but the fact that you can't go back, you can fix something makes it theater. What excites me about the work we're doing at Theater in Quarantine is that we are theatericalizing the digital space. We're creating content that uses experimental theater making methodologies, but twists and turns them into a digital form. In virtual theater you can direct the audience's eye in a very specific way, unlike live theater. In live theater we use lights, set, sound, etc to try and direct the audience's focus, but in digital theater we can use the camera to put it exactly where we want it to be. And because we're using experiential theater techniques, we can always adapt the form to fit the content.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1625139990260-AWNMENG92TU6UQESJQJM/Darrel%2BAlejandro%2BHolnes.jpg Is it Film, or Is it Theater? - Darrel Alejandro Holnes, Artist and Writer “I'm going to tell you a secret. There are no rules. Everything we know about traditions that dictate form in art, design, and engineering, are all imagined. Yes, shows happened, yes, people made these objects or created these experiences that taught us something, that moved us, that entertained us. And that history means something.Theater, art, design, engineering, and performance histories are all important. But who says that we, artists today, have to repeat history made by our predecessors? If that's the case then why bother learn about what came before us? If we don't learn from that history and build something new with that knowledge, then what value does that history and its preservation have? With virtual theatre, we have an opportunity to set new expectations, we have an opportunity to innovate. It is not the same as in-person theater or film. It's its own thing, and what is happening now online is very inspiring, particularly during the pandemic, where in-person performance has shifted online and artists who have, for years, been working in the video, virtual, or digital spaces are pushing the envelope even further. It's incredible. Making performance for these new spaces also allows us to establish and expand traditions of inclusivity, diversity, and equity that weren't part of many popular aesthetic traditions shaped by a predominantly white and often male, wealthy elite who have supported their development. I'm excited to continue to realize my wildest dreams by embracing the limitless storytelling possibilities we as artists have today by using new technologies when making performance for video, virtual, and digital spaces. My play, Black Feminist Video Game does just that, it makes the most of the latest technologies we can access to create performance that is accessible worldwide. I'm honored to share with the world the story of Jonas, a biracial teen on the spectrum coming of age while learning about love, friendship, and Black feminism. I'm excited to watch audiences play the interactive video game and guide the characters of the show through a video game that will shape the main character's journey and the outcome of his quest. The show is produced by The Civilians and presented as a part of a national collaboration with 59E59 Theaters in New York, Center Theatre Group in Los Angeles, Oregon Shakespeare Festival in Ashland, and co-commissioner Lafayette College in Easton, and includes a team of filmmakers, game makers, music producers, all sorts of designers, and performers who have all helped the show be a one-of-a-kind experience for the audience. I hope new theater, in whatever form, continues to be interactive, multimodal, mixed media, inter/intra and/or cross disciplinary, and one-of-a-kind shows that can be different every night. May we all continue to blur lines that never really existed in the first place!” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618925901603-JRN4P996F6AZ03UWHTPP/Screen+Shot+2021-04-20+at+9.38.05+AM.png Is it Film, or Is it Theater? - Kathryn Yu (she/her), Executive Editor, No Proscenium “A live virtual production — particularly when it uses all of the affordances of digital platforms available to us — seems to be a completely different beast to me. I've seen fascinating new work that leverages different parts of the immersive theatre, alternate reality game, puzzle box, and escape room toolkit. These hybrid experiences may show recorded video over Zoom and then have the audience and performers react to it in real time. A performer may send a mysterious link to the viewers in chat and ask them to interact with a custom web site while also receiving in-world text messages. Or a company may mail a box of objects to the participant, asking them to tune into a Zoom call at a later date or be available for a telephone call at a set date and time. Perhaps you might receive a postcard or an email from a character after a show has officially concluded. We're at a moment where the boundaries between these forms have become quite porous. The potential for theatrical experiences that borrow from the best of the best in video games, cinema, puzzle boxes, self-guided audio tours, podcasts, and more is limitless. We should all be "stealing like artists," to borrow a phrase from Austin Kleon.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618925615352-OKM1VYKN6OCEIVIOPP2V/Screen+Shot+2021-04-20+at+9.33.22+AM.png Is it Film, or Is it Theater? - Kamala Sankaram, Composer and Performer “For me, the important distinction between film and theatre is the collaboration with the audience. Theatre, unlike film, allows for immediate feedback from the audience to subtly change the performances of those onstage, leading to infinite variations in timing, volume, prosody, etc. These changes deepen over the course of the run as the performers, through this continual feedback, allow their performance to evolve. In this way, theatre, unlike film, is a living, breathing organism. And that's what I've been trying to capture in creating live performances over the internet, both with all decisions will be made by consensus and Only You Will Recognize the Signal.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618939109861-UTLOC1QS345UU23MXMVT/Melisa%2BTien.jpg Is it Film, or Is it Theater? - Melisa Tien, Playwright, Lyricist, Librettist “So many art forms have found shelter, temporarily or permanently, under the banner of theater that it's hard for me to think of one that couldn't be considered 'theatrical' in some respect. It's hard, also, not to embrace less orthodox forms; I've come across Twitter threads that were pure, surprising, moving theater. So, I think of film as being at home in the land of theater. This is a conclusion I've arrived at while writing this essay. A wholly unexpected gift of the pandemic (which, even as I acknowledge it, seems strange) has been my journey to other shores of theatricality—places I used to think might be fun to visit, but as a stopover on the way to a more intentional destination. I consumed a lot of the early remote theatrical work that began popping up a year ago. I remember when it felt rogue. I remember it before it became more self-aware, more polished, more mature. Somewhere in there, I started wanting to make it, too. Maybe it was a case of a child standing off to the side, envying other children on the playground. Maybe it was a case of boredom transforming into revelation. Whatever it was, when all bets are off, it suddenly makes sense to aim directly for what was once relegated to speculation. I started with a recipe, in response to a theater 'bake-off', something I considered a modest blueprint for departure. Next came a mash-up of words with a map of New York City, in an attempt to theatricalize my emotional state in May 2020 (later anthologized in Theater Artists Making Theatre With No Theater). Then I found myself creating a piece for, and co-producing an audio series/podcast, and in doing so fulfilled a long-held wish to publish sound art and hear fellow playwrights try it, too. It was all theater to me, because it's almost impossible for me not to see things through theater-tinted glasses. Therefore, the most recent work I put into the world—a live, online, remote song cycle—is perhaps the most recognizable as a form of theater. Never mind that you watched it on a screen, or that the visuals were so fancy they were at times mesmerizing, or that a separate window (as prominent as the one for the show) existed for ASL interpretation. Never mind that an archive recording remains available for those who missed the live performances. None of this is what one would term 'conventional theater', but theater it clearly was. Partly because it was live, partly because it was risky, and entirely because it was aiming directly for the viewer's heart and mind. Virtual theater remains theater to me because of its insistence on a real, immediate connection to the audience, and because of its obsessiveness around connecting audience members to one another. I'm not sure theater would make sense any other way.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618577356067-5TU0AYNFC0AX1BAG8DYJ/Screen+Shot+2021-04-16+at+8.48.02+AM.png Is it Film, or Is it Theater? - Barbara Fuchs, Professor of Spanish and English, and Director of Diversifying the Classics, UCLA “Theatre deploys artifice while cinema is committed to reality,” Susan Sontag observed. [1] As digital theater becomes more sophisticated, filters, augmented reality, and other technical solutions increasingly make it possible to modify actors’ appearance, place remote actors in a shared virtual space, create virtual scenery, or even simulate an audience. Yet those same strategies—born of a longing for verisimilitude—reduce the distinction between theater and film, so that it becomes more urgent for artists to reassert the theatrical qualities of their work. Whether through bricolage or irony, the simulations enacted are simultaneously dismantled, calling attention to the fissures of representation that most clearly distinguish theater from film. The most successful of these experiments want it both ways: on the one hand, audiences must be sufficiently persuaded that online theater can tell a story that they are willing to engage with in the new form, even if only as an alternative to in-person experiences; on the other, the conspicuous artificiality of that form, and the very need for simulation to supplement it, privilege alienation over verisimilitude. Simulation is thus more than an attempt to compensate for what digital theater cannot replicate: its fraught relationship with analog equivalents foregrounds the self-awareness of digital theater as its distinguishing characteristic, its postdramatic signature. In this sense, the simulations of digital theater in the context of pandemic are quite distinct from film: in a context of profound longing for in-person performance, they insist instead on a Brechtian distance from realism as a condition for theater.” - adapted from Theater of Lockdown: Digital and Distanced Performance in a Time of Pandemic (forthcoming, Methuen Drama Agitations, Fall 2021) [1] Susan Sontag, “Film and Theatre,” The Tulane Drama Review 11, no. 1 (Autumn 1966): 24-37, citation on 26. https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618925720447-YPAJMMI3D2YP74ZM5S4U/Screen+Shot+2021-04-20+at+9.35.05+AM.png Is it Film, or Is it Theater? - MJ Kaufman, Playwright and Television Writer “It has to be both. It is both a live experience we share from different homes and corners across the globe and also a flat screen in my living room. Over the last year, I notice myself as a viewer of theater vs. film. I’m used to watching films in my own home on a screen, used to getting up in the middle to refill my glass of water or pet my dog. If the phone rings, I can pause it to answer. But watching theater on a screen in my house is entirely different. It consumes me. It requires a much closer, more careful watching. I can’t pause it and I can’t walk into the next room for a minute and still hear what’s going on. The urgency and liveness are intrinsic to its nature. That’s what theater is; it is a co-creation between audience and artist. It doesn’t go away online. Getting to share that feeling across continents over the course of this year has been a sensation I never even imagined before. Over the course of this year, I have had a number of virtual productions go up, and after each one there has always been someone, usually someone I know from my work in TV/film, who asks to see the recording. And typically the recording is not available - either it was performed and not recorded or the recording was only available for a limited period of time. But the TV/film people have a hard time understanding this. If it happened on a screen, they want to know why isn’t it replicable? Well, I think, because it’s theater. And theater by definition is not replicable. Its ephemerality is where its magic and power come from, and we all play a part in creating that. Which means you can’t watch it on demand. It’s there and then it’s not anymore, and that’s why it's special.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1625139471459-CDKFNL7BTCZBKUZI2T8T/Janilka%2BRomero Is it Film, or Is it Theater? - Janilka Romero, T heatre-Maker + Multidisciplinary Artist, Artistic Director of La Uve “Si vamos a los tecnicismos de lo que ha sido el arte hasta antes de la pandemia podríamos diferenciar claramente todos los elementos que distinguen al teatro del cine sin embargo el tiempo nos ha enseñado que el futuro está en la fusión, en la mezcla. Lo puro no se conserva. Como creadora parto para mi creación desde el teatro y adopto los lenguajes cinematográficos que me permiten elevar, evolucionar, transcender las ideas que solo imaginaba en un escenario y que ahora tiene la posibilidad de ser una criatura omnipresente. Yo le llamo teatro porque es mi lengua materna, estoy segura que quienes crean desde el lenguaje cinematográfico, le llaman cine porque ese es su primer idioma. El teatro virtual tendrá otro nombre en el futuro, estoy segura. Esta es la manera que le hemos nombrado por todavía no encontrar una mejor… por ahora todo va a depender en qué idioma aprendiste a crear.” [translation provided by Janika Romero] “If we focus on go to the technicalities of what art has been up to before the pandemic, we could clearly differentiate all the elements that distinguish theater from cinema, however time has taught us that the future lies in fusion, in mixing. The pure is not preserved. As a creator, I start my creations from the theater and I adopt cinematographic languages that allow me to elevate, evolve, transcend the ideas that I only imagined on stage and that now has the possibility of being an omnipresent creature. I call it theater because it is my mother language, I am sure that those who create from the cinematographic language call it cinema because that is their first language. Virtual theater will have another name in the future, I'm sure. This is the way we have named it for the lack of a better name ... for now everything will depend on which language you learned to create. Whatever it is, the way you tell your story online can make all the difference.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618924956721-2MOKY2N8EV7ZUEPTVGOO/Screen+Shot+2021-04-20+at+9.21.56+AM.png Is it Film, or Is it Theater? - Jared Mezzocchi, Director and Multimedia Designer "I caution us to be asking such a binary question. Instead, we should be asking, 'how can film and theater help the virtual space in unique ways?" I think the pandemic has encouraged all of us to interrogate our forms and bring out the best parts of our discipline in order to create evocative, unique, and innovative work. In grad school, I was told "collaboration, first and foremost, is individual." Here we have two individual disciplines being asked to collaborate. It's a chance to reverse engineer each of these forms to understand what is essential to crafting stories in the theater and in film. Those findings will distill what is essential in the virtual space, too. By leveraging theatrical practices in a digital space, we are encouraged by liveness and risk. By leveraging film practices in a digital space, we are reminded of composition, editing, and montage. Together, there is an opportunity to generate work between the gaps. Working in the gap is where innovation flourishes, out of authentic survival. This is not film, nor is it theater. But it is a collaboration in the space between. To title it one or the other, or gatekeep it from one or the other is a dangerous discourse because, in doing so, we might misconstrue innovation as failure." https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618924826544-Y241W6PNR05VD69A6CP9/Screen+Shot+2021-04-20+at+9.19.24+AM.png Is it Film, or Is it Theater? - Leah Keith, Founder, Creative Producer, and Agent of Rhythm of the Arts “Virtual theatre is theatre, hands down. Theatre and film use extremely different mindsets, aesthetics, and devices to tell a story, even if the venue (a screen) is the same. How do we transfer the magic of live theatre to a screen? Even if it is pre-recorded? Is it possible to make the audience feel and respond to virtual theatre in a way that is comparable to live theatre? Those are questions we theatre artists ask ourselves as we create virtual theatre. We honor and lift up the essence of what theatre is while being able to connect with audiences via a screen.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1618938843785-OFOF2AVZ5A78I6DRMNFJ/Tara%2BAhmadinejad.jpg Is it Film, or Is it Theater? - Tara Ahmadinejad, theater director + co-founding member of Piehole [Piehole Members: Tara Ahmadinejad, Alexandra Panzer, Ben Vigus, Jeff Wood] “The theater work I do with Piehole is rooted in asking, "What makes this thing feel alive, and why is the audience necessary to its existence?" When approaching "virtual theater," these same questions around liveness and presence invariably come up. When we adapted an in-person interactive theater piece for Zoom, we focused on fostering connection across our screens, intimacy across inherent distance. Maybe achieving that felt like "theater." But we also used cinematic techniques, along with live TV techniques and Zoom techniques. So how do you classify it? Fostering liveness or presence is especially challenging in cases when, for one reason or another, a "virtual theater" production needs to be pre-recorded. What form results when you do a pre-recorded remote production for a live, in-person theater script? It's not neatly film or theater; it doesn't have a name.'" Labels and categorization are tricky – they help people buy and sell art. They have a tendency to pin a thing down, make someone say, "Oh, I get what that is!" and make it consumable. Finding common language can be helpful for bringing people together, but we shouldn't confuse accessibility with consumability. What good is a label that creates a false impression of understanding? Insufficient labels create incorrect expectations, preventing audiences from meeting an emerging form of art on its own terms, robbing them of experiencing the full complexity of such a work. On the other hand, some days when I'm feeling feisty I think, let's just make a bunch of stuff and call it theater no matter what it is -- to help expand our sense of theater's potential. This past month, Piehole had the opportunity to publish a maze in a magazine--I'm calling that theater too.” https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1625140362249-9HNU7XQDGCGXQ2Y2UPY4/Chris+Anthony.png Is it Film, or Is it Theater? - Chris Anthony, Assistant Professor at The Theatre School at DePaul University (she/her) “There are so many different permutations of theatre in the virtual space, it is hard to say exactly what the “it” of it is. And I wonder if it really matters what we call it. Is this the birth of a new form? Several new forms? Possibly. Before this year, I absolutely believed that “theatre” required performers and audience to share space in real time. There is undeniable energy exchanged between everyone in the room. There is magic in that exchange. That will always be true. At the same time, the virtual space has allowed me to be in online “rooms” with people all over the globe. I have had conversations and listened to stories that I never would have been able to access before. I have seen theatre that challenged the way I think about the world. Theatre that brought me great joy, moved me to tears, shook me to the core, and soothed my soul. Those are all things that I want to do with my work in the theatre. And lots of questions are swirling in my brain. Who has been able to join the virtual theatre community that would not have had access to live theatre? Who have we been able to reach? What have we learned in this pandemic year that we want to keep? How will theatre in this space help us create a Beloved Community? Technology will rise to meet whatever we imagine. The magic of sharing space and time will never go away. Both things are true. How can this new space help us build the world of our dreams? That’s what I am excited to find out.” https://www.sociallydistantperformance.com/home-1 daily 1.0 2024-08-20 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593300138268-1DLKM6E2U9JMTTDPUN92/ezgif.com-crop.gif Home Innovations in Socially Distant Performance creates live and interactive performance for virtual venues. As an industry leader in the conception, design and production of virtual performance, ISDP has shared fully-realized original live theatre and operas with international online audiences. We collaborate with future-thinking artists, fulfill commissions from leading arts organizations, and consult multiple organizations. ISDP began in 2020 and is housed and supported by Princeton University. The original goal was to study and document the aesthetics, philosophies, tools, and artists who were transforming the fields of virtual live performance and socially distant productions. Now we are creating our own online platforms which engage live audience interaction. https://www.sociallydistantperformance.com/our-beginnings daily 0.75 2024-08-20 https://images.squarespace-cdn.com/content/v1/5ef29a4071219b5736a955ce/1593300138268-1DLKM6E2U9JMTTDPUN92/ezgif.com-crop.gif Our Beginnings - Our Beginnings: In February 2020, Innovations in Socially Distant Performance began as a research laboratory at Princeton University with the goal of inventing new methods for teaching live performance through virtual means. The teaching project grew into a study and documentation of the aesthetics, philosophies, tools, and artists who were transforming the fields of virtual live performance and socially distant productions. This now archived website was a place to create community, share information, inspire invention, and document the expanding art form, with an emphasis on sharing the tools and techniques of a reimagined trade. The website was updated through December 2020 and was archived by the Library of Congress. Since 2020, ISDP has devoted itself to developing new virtual productions. We leave this archived website available to look back at a time when virtual live performance exploded because of the COVID pandemic, and how theatre, opera, dance, and all forms of live performance were forever changed and enhced. https://www.sociallydistantperformance.com/contact1 daily 0.75 2024-08-20