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dc.contributor.authorHarris, Matthew Tobias
dc.date.accessioned2017-12-16T13:28:47Z
dc.date.available2017-12-16T13:28:47Z
dc.date.issued2017-10-31
dc.date.submitted2017-12-16T12:51:57.178Z
dc.identifier.citationHarris, M.T. 2017. Liveness: an interactional account. Queen Mary University of Londonen_US
dc.identifier.urihttp://qmro.qmul.ac.uk/xmlui/handle/123456789/30624
dc.descriptionPhDen_US
dc.description.abstractLive performances involve complex interactions between a large number of co-present people. Performance has been defined in terms of these performer–audience dynamics, but little is known about how they work. A series of live performance experiments investigate these dynamics, through teaching a humanoid robot some stagecraft, contrasting live and recorded performance, and spotlighting the audience. This requires the development of methods capable of capturing the fleeting responses of people within an audience and making sense of the resulting massed multi-modal data. The results show that in live events interaction matters. Extending the idea that our experience of performance is shaped by interactions with others, namely by talking with people afterwards, analogous social patterns are identified within the event. Specifically, some of the interactional dynamics well established for close, dyadic encounters extend to performers and audience members, despite the somewhat anonymised nature of massed audiences. While individual performer–audience effects were identified, the primary axis of social interaction is shown to be between audience members. This emphasises how it is being in an audience – common across diverse performance genres – that shapes the experience of live events. This work argues that the term liveness is ill-defined, but need not be. These interactional dynamics have a functional basis and depend solely on what is externally manifest. Understanding liveness in this way allows a perspicuous account – relating the perceptual environment within the event to the social contingency of experience – and can provide a systematic basis for design.en_US
dc.description.sponsorshipResearch Councils UK’s Digital Economy funding Queen Mary University of London Media and Arts Technology programmeen_US
dc.language.isoenen_US
dc.publisherQueen Mary University of Londonen_US
dc.rightsThe copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author
dc.subjectDramaen_US
dc.subjectLive performanceen_US
dc.subjectlive events interactionen_US
dc.titleLiveness: an interactional accounten_US
dc.typeThesisen_US


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