Igcse Theatre Analysis

Figure 0.3 shows the similarities and differences between Zhengyici Peking Opera Theatre in Beijing and the Weather Project in the Turbine Hall of Tate Modern in London. It shows that it is more crucial to work with the theatrical limits of interactivity rather than promoting a using of techniques in interactive art which might not lead to genuine interactivity - idealistic but unrealistic freedom of the spectator. Both Zhengyici and the Weather Project have the similar spatial layout: a narrow and deep space. The focus is arranged at the end of the space in these two cases. The space arrangements, light effects and production settings in both situations produce the mood and immersive environment. The performer-audience relationship in this

In addition, rather than traditional theatre that would affect an audience on a passive intellectual level, I would like to look into other platforms for performance which can rouse audiences and invoke change within them. For example, comparing with the theatre with spatial imagery, contemporary performance works more with spatial experience and variant performer-audience relationship which might be related more to the dynamic artist-audience relationship in interactive art (section

Then, it proposes the research question and the aims of this research in the underlying negotiations between artist and audience within three forms of relationship: artwork and audience, artist intent and intent transformation, and desirable experience and actual audience experience. Drama, Story, Production, and Interaction formed as DSPI framework is suggested to be used as a conceptual structure to explore answers for the research question. Finally, a methodology how these questions will be introduced. The remainder of this thesis consists of three subsequent cycles, briefly outlined in the following.

Cycle 1: Start from Interaction
Chapter 2 and 3 as practice cycle 1 describe the explorations of DSPI framework from the perspective of “how Interaction is set into an interactive art installation” in one workshop “Interactive Patina of Culture” and one art project NOTMASKI&II. Both show how Interaction plays a role of shifting the artwork-audience relationship, transforming artist intent, and bridging the gap between a desirable experience and an actual audience experience.

Cycle 2: Start from