<b>Virtual dramaturgy</b>: Finding liberty in the virtual machine

Baarle, Kristof van; Stalpaert, Christel; Verdonck, Kris

doi:10.1080/13528165.2013.828941

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T H E O B J E C T a S U N C A N N Y P E R F O R M E R1

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Cited by 7 publications

(2 citation statements)

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“…A moving object can thus reach a much higher level of affinity, but also of eeriness. The installation 1 I have discussed the matter of projection in the work of Kris Verdonck more profoundly in Van Baarle et al (2013a). .…”

Section: T H E O B J E C T a S U N C A N N Y P E R F O R M E Rmentioning

confidence: 99%

The critical aesthetics of performing objects – Kris Verdonck

Baarle¹

2015

Performance Research

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Section: T H E O B J E C T a S U N C A N N Y P E R F O R M E Rmentioning

confidence: 99%

The critical aesthetics of performing objects – Kris Verdonck

Baarle¹

2015

Performance Research

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“…He asks us to pause and to look again, and explains that it is important to use the "dream machine" of the theatre to "talk about technology and its influence" on our lives (Verdonck 2014a). In a recent essay, Kristof van Baarle, Christel Stalpaert, and Verdonck argue that Verdonck's work explores the "dualism or symbiosis" of our relationships with the machine (Van Baarle et al 2013:54) -perhaps acknowledging both the ways in which the machine might define us and at the same time considering how we might engage in an exchange with the machinic other. In effect, by putting dualism and symbiosis together, they highlight the complexity of the relationship we are still in.…”

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Actors, Spectators, and “Vibrant” Objects: Kris Verdonck’s ACTOR #1

Grehan

2015

TDR/The Drama Review

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I believe it is wrong to deny vitality to nonhuman bodies, forces, and forms, and that a careful course of anthropomorphization can help reveal that vitality, even though it resists full translation and exceeds my comprehensive grasp.-Jane Bennett (2010:122; emphasis added) We would love to be posthuman but we aren't yet ready. In a Christian environment we are still a bit afraid of the whole thing. The friction of wanting to be it and not fully knowing what to do with it exists. -Kris Verdonck (2014a)In contrast to much new media performance, there is no apparent attempt in Kris Verdonck's ACTOR #1 to accelerate time, or to enhance the spectatorial experience through the juxtapositioning of multiple elements, temporalities, tools, or media. Instead what the work presents, as I read it, is a three-phase meditation that strips the tools and techniques back, allowing, or perhaps even compelling spectators to focus on a single element, to inhabit one state, or to con-

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On Composite Bodies and New Media Dramaturgy

Eckersall

Verdonck²

2021

Performance and Posthumanism

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Virtual dramaturgy: Finding liberty in the virtual machine

Cited by 7 publications

References 4 publications

The critical aesthetics of performing objects – Kris Verdonck

The critical aesthetics of performing objects – Kris Verdonck

Actors, Spectators, and “Vibrant” Objects: Kris Verdonck’s ACTOR #1

On Composite Bodies and New Media Dramaturgy

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