Digital Drama: A Snapshot of Evolving Forms

John Carroll
{"title":"Digital Drama: A Snapshot of Evolving Forms","authors":"John Carroll","doi":"10.1080/17508480209556409","DOIUrl":null,"url":null,"abstract":"I'd like to start with a personal confession that positions (or skewers) me in relation to the following discussion of digital drama. Taking note of Denzin's focus on the 'narrative turn in interpretative ethnography, I recall leaving a National Drama Conference in Canberra some years ago to visit the nearby cinema multiplex. I went to see 'Terminator 2' starring Arnold Swarzenegger and a range of digital special effects. Arnold plays a cyborg with no moral sensibility and no pain threshold. However, he does possess a very appealing sense of mission. His job involved him in protecting a young boy he has been sent back from the future to save. If this time paradox does not make sense I suggest you hire the DVD, get in some popcorn and watch it for yourself! However, you really had to be there for the big screen, the Dolby Surround sound and the audience participation. It was clear from their responses that the young audience had no trouble with the space/time paradox and, at the moment of Arnold's supreme sacrifice, a sense of cartharsis was plainly and appreciatively evident in the theatre. I returned to the Drama conference for the next session of papers and workshops to discuss my enthusiasm for drama, computers and cyberspace with the delegates. I ended up engaged in an animated, if somewhat sceptical, discussion with the editor of this very edition of the journal! There is an ambivalence towards technology in the educational community that is commonly expressed through a series of oppositional positions common in our culture. One of the dualities clearly present in our schools is the tension existing between drama and technology. This is usually expressed through the structuralist terms of film analysis derived from the work of Levi-Strauss and others. It was certainly evident in my discussion with other drama teachers at the conference. The fact that some people would set technology and drama in opposition is evidence of the lingering tension still carried in the educational system. This tension is usually expressed through binary opposites such as: Drama versus Technology, Art versus Industry, Sensitivity versus Brutalism and High Culture versus Low Culture. These dualities are a reflection of the still current modernist views that position educated people as 'sensitively attuned' to high culture drama or alternatively sees","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"34 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"23","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Melbourne Studies in Education","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17508480209556409","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 23

Abstract

I'd like to start with a personal confession that positions (or skewers) me in relation to the following discussion of digital drama. Taking note of Denzin's focus on the 'narrative turn in interpretative ethnography, I recall leaving a National Drama Conference in Canberra some years ago to visit the nearby cinema multiplex. I went to see 'Terminator 2' starring Arnold Swarzenegger and a range of digital special effects. Arnold plays a cyborg with no moral sensibility and no pain threshold. However, he does possess a very appealing sense of mission. His job involved him in protecting a young boy he has been sent back from the future to save. If this time paradox does not make sense I suggest you hire the DVD, get in some popcorn and watch it for yourself! However, you really had to be there for the big screen, the Dolby Surround sound and the audience participation. It was clear from their responses that the young audience had no trouble with the space/time paradox and, at the moment of Arnold's supreme sacrifice, a sense of cartharsis was plainly and appreciatively evident in the theatre. I returned to the Drama conference for the next session of papers and workshops to discuss my enthusiasm for drama, computers and cyberspace with the delegates. I ended up engaged in an animated, if somewhat sceptical, discussion with the editor of this very edition of the journal! There is an ambivalence towards technology in the educational community that is commonly expressed through a series of oppositional positions common in our culture. One of the dualities clearly present in our schools is the tension existing between drama and technology. This is usually expressed through the structuralist terms of film analysis derived from the work of Levi-Strauss and others. It was certainly evident in my discussion with other drama teachers at the conference. The fact that some people would set technology and drama in opposition is evidence of the lingering tension still carried in the educational system. This tension is usually expressed through binary opposites such as: Drama versus Technology, Art versus Industry, Sensitivity versus Brutalism and High Culture versus Low Culture. These dualities are a reflection of the still current modernist views that position educated people as 'sensitively attuned' to high culture drama or alternatively sees
数字戏剧:进化形式的快照
我想从个人坦白开始,这将使我与以下关于数字戏剧的讨论产生联系。注意到丹津对“解释性人种学的叙事转向”的关注,我想起几年前在堪培拉参加完全国戏剧会议后,去参观附近的多厅影院。我去看了阿诺德·施瓦辛格(Arnold schwarzenegger)主演的《终结者2》(Terminator 2)和一系列数字特效。阿诺德扮演的是一个没有道德感和痛感阈值的电子人。然而,他的使命感确实很吸引人。他的工作是保护一个小男孩,他是从未来被派回来拯救的。如果这个时间悖论没有意义,我建议你租用DVD,买一些爆米花,自己看!然而,你真的必须去看大屏幕、杜比环绕声和观众参与。从他们的反应中可以清楚地看出,年轻的观众对空间/时间悖论没有任何困扰,在阿诺德做出最大牺牲的那一刻,一种宣泄的感觉在剧院里是显而易见的。我回到戏剧会议参加下一届的论文和研讨会,与代表们讨论我对戏剧、计算机和网络空间的热情。最后,我和这一期杂志的编辑进行了一场生动的讨论,虽然有点怀疑!教育界对技术有一种矛盾心理,这种矛盾心理通常通过我们文化中常见的一系列对立立场来表达。我们学校中明显存在的两重性之一是戏剧和技术之间存在的紧张关系。这通常是通过电影分析的结构主义术语来表达的,这些术语来源于列维-斯特劳斯和其他人的作品。在我与其他戏剧老师的讨论中,这一点非常明显。有些人将科技和戏剧对立起来,这一事实证明了教育系统中仍然存在着挥之不去的紧张关系。这种张力通常表现为二元对立,如戏剧与技术、艺术与工业、敏感与粗野主义、高雅文化与低俗文化。这些二元性反映了当前的现代主义观点,即把受过教育的人定位为“敏感地适应”高雅文化戏剧或替代观看
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:604180095
Book学术官方微信