Diluted Presence in Rouge Mékong: a proposition for the intermedial scene

In this paper it is described the presence mediated by imaging devices. It is focused on the contemporary intermedial scene, emerging as the highlighted study Rouge Mékong, an immersive spectacle developed by Collectif Lebovitz, a Canadian interdisciplinary collective of artists. This experience will guide us as a systematization of the presence effect concept, developed by Josette Féral, and investigated here as a constituent of the dramaturgy of this spectacle. It is also investigated the presentation of discussions focused on the presence of the actor mediated by virtual image technology and the expectations of perception on the audience raised by Auslander (2008), Féral (2012) and Lehmann (2007) when in relation to the intermedial scene.

Keywords:
Presence Effect; Intermedial Scene; Perception; Immersion and Interdisciplinarity

Authorship

Fernanda Areias Oliveira

Universidade Federal do Maranhão - UFMA, São Luís/MA, BrazilUniversidade Federal do MaranhãoBrazilSão Luís, MA, BrazilUniversidade Federal do Maranhão - UFMA, São Luís/MA, Brazil

Marta Isaacsson

Universidade Federal do Rio Grande do Sul - UFRGS, Porto Alegre/RS, BrazilUniversidade Federal do Rio Grande do SulBrazilPorto Alegre, RS, BrazilUniversidade Federal do Rio Grande do Sul - UFRGS, Porto Alegre/RS, Brazil

Maria Cristina Biasuz

Fernanda Areias Oliveira is a professor at the Department of Art in Universidade Federal do Maranhão. Coordinates the research group Laboratory of Dramatic Technologies (LabTecDrama), which develops research on the training of theater teachers and methodologies for intermedial scene. PhD in computer science in education at Universidade Federal University do Rio Grande do Sul. E-mail: nandaareias1@gmail.com

Marta Isaacsson Souza e Silva is a professor at the Department of Dramatic Art and the Graduate Program in Performing Arts at Universidade Federal do Rio Grande do Sul. PhD in Theater Studies from Université de Paris III (1991). Productivity support 1B of the National Council of Scientific Research / Ministry of Science and Technology of Brazil. E-mail: missilva@portoweb.com.br

Maria Cristina Biasuz is an associate professor at Universidade Federal do Rio Grande do Sul, linked to the Institute of Arts. She develops research in the area of Digital Technologies, and coordinates the N.E.S.T.A - Nucleus of Studies in Subjectivation, Technology and Art, in the Line of Research: Digital Interfaces in Education, Art, Language and Cognition. E-mail: mcbiazus@gmail.com

SCIMAGO INSTITUTIONS RANKINGS

Universidade Federal do Maranhão - UFMA, São Luís/MA, BrazilUniversidade Federal do MaranhãoBrazilSão Luís, MA, BrazilUniversidade Federal do Maranhão - UFMA, São Luís/MA, Brazil

Figures | Tables

Figures (3)
Tables (1)

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Figure 1
External Image of the Société dês Arts Tecnologiques (SAT). Source: Sat’s Site¹⁷ 2 Available at: <http://sat.qc.ca>. Accessed in: 10 June 2015. .

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Figure 2
Images sequence of Rouge Mékong performance. Source:©SebastienRoy.ca

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Figure 3
Facebook profile, Sarah Lebovitz character. Source: Screen Image Elaborated by the Authors.

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Table 1
Summary of some contemporary reflections on the Intermedial Scene.

Figure 1 External Image of the Société dês Arts Tecnologiques (SAT). Source: Sat’s Site¹⁷ 2 Available at: <http://sat.qc.ca>. Accessed in: 10 June 2015. .

Figure 2 Images sequence of Rouge Mékong performance. Source:©SebastienRoy.ca

Figure 3 Facebook profile, Sarah Lebovitz character. Source: Screen Image Elaborated by the Authors.

Table 1 Summary of some contemporary reflections on the Intermedial Scene.

	Reception	Actors
Josette Féral	Féral (2012aFÉRAL, Josette. Being: place and time. How to define presence effects: the work of Janet Cardiff. In: GIANNACHI, Gabriella; KAYE, Nick; SHANKS, Michael (Org.). Archaeologies of Presence: art, performance and the persistence of being. New York: Routledge , 2012a. P. 29-49. ) introduces the concepts of presence and presence effect. The presence effect would be constructed from a known absence, noticed by the spectator. Presence would be organic, physically represented by the actor. Féral (2012b) questions the little deepening of the studies of perception and cognition on theatrical reception. She highlights the need to rethink research that combines cognitive science and art.	Performative Acting (Féral, 2008FÉRAL, Josette. Por uma Poética da Performatividade: o teatro performativo. Sala Preta: Revista do Programa de Pós-Graduação em Artes Cênicas, São Paulo, Universidade de São Paulo, n. 08, p. 197-210, 2008.). The character representation layers are not a priority. The action of the actors overlaps with this. They (characters) are there to be taken back when they matter. The performativity of this performance can also extend to the game of revelation of effects of the technical apparatuses.
Philip Auslander	Auslander (2008AUSLANDER, Philip. Liveness; Performance in a Mediatized Culture. London; New York: Routledge, 2008.) is dedicated to investigate an audience that models its responses to live events from a culture mediatized by television and video. He focuses on quantitative research data, on cultural events in the United States to justify cultural preferences. Auslander (2000) invests on the preference of the spectators for virtual images with televisual references in the scene. We would see live performances with a perception shaped by the dominant (televisual) media.	Auslander (2008AUSLANDER, Philip. Liveness; Performance in a Mediatized Culture. London; New York: Routledge, 2008.) problematizes the acting mediated by electronic devices. A chapter entitled The Problem Gollum, in which he discusses the performance of the character Gollum, present in the film The Lord of the Rings, is discussed. The aspect of creation of the actor in the construction of the character and the appropriation of his corporal scores by a software is in dispute, which, after digitizing them, is able to create new scores. In this context: who created Gollum, the actor or the software?
Hans-Thies Lehmann	Lehmann (2007LEHMANN, Hans-Thies. Teatro Pós-dramático. Tradução de Pedro Süssekind. São Paulo: Cosac & Naify, 2007.) questions the notion of collective experience within a media reality. He argues that the appropriation of the media in the theater would lead to the weakening of the interaction because they nurture the individual experience.	Lehmann (2007LEHMANN, Hans-Thies. Teatro Pós-dramático. Tradução de Pedro Süssekind. São Paulo: Cosac & Naify, 2007.) problematizes the ways of composing for a media body or a techno-body. He emphasizes the use of algorithms for the composition of some choreographies. He also mentions the artificial extensions used by some performers, in which they would have as main foundation the search for artificial sensations, kinesthetic impulses.

Source: Elaborated by the authors.

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Diluted Presence in Rouge Mékong: a proposition for the intermedial scene

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[1] Fernanda Areias Oliveira is a professor at the Department of Art in Universidade Federal do Maranhão. Coordinates the research group Laboratory of Dramatic Technologies (LabTecDrama), which develops research on the training of theater teachers and methodologies for intermedial scene. PhD in computer science in education at Universidade Federal University do Rio Grande do Sul. E-mail: nandaareias1@gmail.com