Ready, Set, Go : A choreographic exploration of the relationship between digital computer-generated systems and the live encounter

Abstract

This research investigates the relationship between computer generated, game systems, projected video and live encounters through choreographic exploration. Through these confusing and draining years of covid-19 (Gloster et al., 2020) we have heavily relied on technology to both connect and unite us (Bashshur et al., 2020). As a result of these restrictions, my research has been confined, at times, to the digital space; this thesis is a product of my curiosity to combine the live realm with the computer, creating a harmonious choreography between the two. Exploring the similarities and differences between the digital and the live; and weaving the two interfaces to build a new experience. This research has been informed through the practice led process of creating the interactive dance work, Level Up. Level Up is an exploration into blurring the lines between audience and performer, an ongoing inquiry into the ways in which interactive choreography can shift the viewers experience when they are granted agency within the world of the performance. Investigating the parallels between video game culture and interactive live and digital choreography. Driven by the exaggerated, often absurdist characters within the work; aiming to present a palatable, relatable and humorous world accessible for dancers and non-dancers alike. We question within this world the desire for relativity between one another, and we iii dissect the exaggerated personas presented that we ourselves, may fit within Key theories that have informed this research include computer programmer Nick Pelling’s (2002) theory of gamified learning, as articulated in this exegesis as ‘gamification’. Supporting theories of audience interactivity are Jay Blumler and Elihu Katz’ (1974) theory of Uses and Gratifications, perceiving the consumer as active agents with control over the mediatized platforms that they consume. As well as Susan Bennett’s (1998) Reception Theory, viewing the audience as the co-creator of the work, building their own readings and meanings of the performances they willingly choose to immerse themselves within through Judith Butler’s (1993) concept of performative identity.