Waiting for Brexit and Jeux de Massacre: Translating theatre from stage to cyberstage
- Submitting institution
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University of South Wales / Prifysgol De Cymru
: A - A – Faculty of Creative Industries, University of South Wales
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - A – Faculty of Creative Industries, University of South Wales
- Output identifier
- 4275380
- Type
- I - Performance
- Venue(s)
- Waiting for Brexit: UpStage v.3 (Online) and TaPRA Gallery 2019, University of Exeter (UK), 6 September. Jeux de Massacre: UpStage v.3 (Online) and Network Music Festival 2020 (Online), 9 and 15 July.
- Open access status
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- Month of first performance
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- Year of first performance
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Waiting for Brexit (2019) and Jeux de Massacre (2020) comprise a series of cyberformance adaptations, directed by Christina Papagiannouli. Cyberformance is defined here as the genre of digital performance that uses the Internet as a performance space. ‘Waiting for Brexit’ is a semi-adaptation semi-autobiographical cyberformance, based on Samuel Beckett’s ‘Waiting for Godot’ and Papagiannouli’s personal Brexit story and her British citizenship application journey. ‘Jeux de Massacre’ is a COVID-19 cyberformance adaptation of Ionesco’s homonymous play.
Waiting for Brexit and Jeux de Massacre expands Papagiannouli’s earlier The Etheatre Project (2014) in developing cyberperfomance methodologies. This includes cyber-collaboration (a completely remote collaboration process of a geographically distributed production team that embraced the audience as part of the ensemble), cyber-adaptation (where audience re-adapt the adapted piece through real-time interaction) and cyber-ethnotheatre (studying audience behaviour and documenting participants' responses in real time during the performance),
This new research entailed adapting and ‘translating’ the plays from stage to cyberstage, exploring avatar-based performance practices, collaborating remotely with geographically distributed performers in different time zones and COVID-19 zones (in Jeux de Massacre), documenting participants’ responses and studying audience behaviour in real time during the performances, performing simultaneously for online and on-site audiences (in Waiting for Brexit). Papagiannouli tested strategies in rehearsals and during the performances.
The research is represented here by three recordings of the performances, as well as scripts, text logs and images.
Waiting for Brexit (UpStage v3 online platform), selected performance, TaPRA Gallery, University of Exeter, 6 September 2019
Jeux de Massacre (UpStage v3 online platform), 9 July 2020 at 9am and 9pm
Jeux de Massacre invited performance, Network Music Festival 2020 (Online), 15 July 2020
Contextual information is provided that explicates the research process and insights, together with evidence of public dissemination of the research through journal articles, rehearsal logs and other documents.
- Author contribution statement
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- Non-English
- No
- English abstract
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