Extended presence: The instrumental(ised) body in Andr� Werner's Marlowe: The Jew of Malta
Stefanie Kühn · International Journal of Performance Arts and Digital Media · 2007
AbstractThe main objective of this paper is to investigate alterations to the performer's presence in contemporary opera that occur through the use of digital technologies. This argument is conducted on the basis of the opera Marlowe: The Jew of Malta (2002) by Andre Werner and focuses on motion tracking as an interface between performer and computer, in other words a form of human-computer interaction (HCI) on stage. The use and implications of motion tracking interfacing the performer's interaction with virtual scenery are examined and ‘Extended Presence’ is introduced as an approach to the performer's role within interactive stage environments. This concept widens the notion of the performer's presence by integrating the role of an operator that pervades both physicality and representation.