Article Author: Chih- Yung CHIU

At the turn of the 21st century, data and computing in the configuration of new information structures have gradually infiltrated into the cultural sphere and ergo functioned as the central nervous system of the contemporary technological culture. This significant transformation also leaves imprint on performance arts, which has extensively incorporated media and evolved a unique genre known diversely as multimedia performance, cross-media performance, cyborg theater, digital performance, virtual theater, new media drama, and so forth. At the same time, how to preserve this kind of genre has become a serious issue globally. “Virtual archive” proposed by Et@t in Taiwan has empowered spectators to determine their preferred duration, perspective, and scene of the work they’re viewing. Virtual technology, especially VR, has also gradually transformed the admiration of works that had been performed into participatory somatic experiences. Immersing themselves in a world detached from realities, spectators comprehend theater pieces not so much by conscious perception as through a world constructed from image-actor, stage installation, and immersive technology. Spectators employ body-mind fusion again to set out on a fantastic journey across the virtual universe, indulging themselves in the world of image-body interaction. This interdisciplinary research and conceptual practice will take example from several works of art created by Taiwanese artists who dedicate to applying contemporary digital technology to the methodological construction and R&D of non-material archiving technique concerning performers’ body movement. Breaking away from previous practice of single-perspective recording, this project provided a sweep panorama of the performer’s whole body, insofar as to give the spectators a 3D stereo view of the performer’s body movement.

Keywords: Et@t; Hsiao Ho-Wen Project; Shapde 5.5; virtual archive

Article Review Status: Published

Pages: 58 - 69

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