Naslov
Working Group Theatralia

Autori
Žugić Borić, Anamarija

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, prošireni sažetak, stručni

Izvornik
Digital Humanities & Heritage : 1st DARIAH-HR International Conference, Zadar, Croatia, 13 - 15 October 2021, (Program and Abstracts) / Kuzman Šlogar, Koraljka ; Žugić Borić, Anamarija - Zagreb : Zadar : Institut za etnologiju i folklOris tiku (IEF) ; Sveučilište u Zadru, 2021, 29-30

ISBN
978-953-8089-80-0

Skup
1st DARIAH-HR International Conference “Digital Humanities and Heritage”

Mjesto i datum
Zadar, Hrvatska, 13.10.2021. - 15.10.2021

Vrsta sudjelovanja
Poster

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
DARIAH ; Theatralia ; Digital Humanities

Sažetak
Theatralia is a DARIAH-EU Working Group dedicated to observing complex relations which arise from the usage of digital tools and technologies in theatrical production, theatre research and theatrical archives management. Furthermore, it aims to provide education on digital tools and services that are useful to performance scholars and practitioners working in the above-mentioned fields. The Theatralia Working Group was officially approved by the DARIAH-EU in May 2021 with Anamarija Žugić Borić (DARIAH-HR) in her capacity as the Chair and professor Tihomir Živić (The Josip Juraj Strossmayer University of Osijek) in his capacity as the Co-Chair. However, the initial idea of the working group was presented in 2018 at the DARIAH Theatre Forum in Osijek, Croatia. The main impetus for the establishment of such a working community was the fact that there de facto isn’t any extant infrastructure in Theatre and Performance Studies that would support, promote, and assess digital humanities projects (Caplan, 2015, p. 348). This difficulty is doubled by the still prevailing traditionalist viewpoint of many theatre scholars, which are focused on the notion of theatre as a monolithic structure that consistently performs the repertoire it had previously established. The other serious predicament is the fact that the rigid organizational schema as seen in theatre also translates to academia. As theatre workers in this concept of theatre predominantly carry out work tasks that are affiliated with their profession, theatre scholars and digital humanities scholars are isolated from each other through the organization of academic knowledge that is divided into disciplines and fields with strict boundaries (Tuhiwai Smith, 2012, cited in Cowan, 2018, p. 650). On the other hand, many scholars highlight the inherent kinship between computer technology and performing arts (Laurel, 1991 ; Saltz, 1997, cited in Saltz, 2008, p. 336), underlining their shared concepts of make-believe and virtual reality (think of Artaud in 1958) (Saltz, 2008, p. 336), as well as mediation, liveness, ephemerality, spectatorship and collaboration (Caplan, 2015, p. 349). This epistemological shift is evident in the slowly arising notion of (digital) scholarship as performative work that abandons the dominance of text and its previous secondary position to the primary source. In other words, digital scholars’ work looks increasingly like art (Caplan, 2015, p. 349). Accordingly, the prevalent concept of Theatre Studies is slowly being replaced by that of Performance Studies. The spotlight thus turns on theatrical performance as an event, i.e. performativity as a unique occurrence of an act in a specific place and moment. This is where the intangible aspect of a theatrical performance, which has been seriously neglected for a long time in the work of theatre scholars and archival experts, assumes greater importance. Hence the objective of Theatralia is to take into account the intangible cultural heritage aspect while blurring the boundaries between digital humanities and theatre scholars, as well as different performance disciplines. One of Theatralia’s first projects is to co-create a digital ecosystem for performing arts (DEPA) that will, as stated in the 2021 COST Action proposal, deploy the linked data technology in operative systems across the performing arts sector, the heritage sector, digital humanities and in adjacent areas. The main proposer of the project is professor Beat Estermann from the Bern University of Applied Sciences. The initiative should provide one step forward towards implementing the interdisciplinary approach in Theatre and Performance Studies, at the same time getting closer to the renouncement of text as the sacred product of scholarly research in favor of a more performative approach. REFERENCES Caplan, Debra, ‘Notes from the Frontier: Digital Scholarship and the Future of Theatre Studies’, Theatre Journal, 67 (2015), pp. 347–359. Cowan, T. L., “‘Run with Whatever You Can Carry’: Cross-Platform Materials and Methods in Performance Studies–Meets–Digital Humanities”, American Quarterly, 70(3) (2018), pp. 649–655. Saltz, David Z. (2008) ‘Digital Literary Studies: Performance and Interaction’ in Siemens R. and Schreibman S. (eds.) A Companion to Digital Literary Studies. Oxford: Blackwell, pp. 336–348.

Izvorni jezik
Engleski

Znanstvena područja
Informacijske i komunikacijske znanosti, Interdisciplinarne humanističke znanosti, Kazališna umjetnost (scenske i medijske umjetnosti)

Napomena
Sažetak izlaganja dostupan je u knjižici sažetaka na
poveznici https://dhh.dariah.hr/en/proceedings/.

POVEZANOST RADA