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Playing for and against the microphone: the theatrical soundstage, the cinematic meeting interface

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Jovanović N.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2023

vol. 26

issue 1

11-28

This article argues for an analogy between the early talkies and the video telephony software-based theatre productions that have proliferated since the outbreak of the COVID-19 pandemic: both the crude sound equipment employed for the late 1920s films and the static streaming and recording devices used to make online theatre/theatre online productions require the performer's close proximity to the microphone. The latter kind of artwork's 'user interface stage' is the site of a paradox, simultaneously fragmenting the spacetime of a written scene and reconstituting the fragments in alternately theatrical and cinematic fashions. I use Mint Theatre's The Gin Chronicles in New York (2020) as a source of examples of this innate contradiction's potential to transcend the notion of medium specificity (and its 'betrayal') that surrounded the emergence of the talkie and to help forge a new model for the Foucauldian heterotopia.

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1 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

1 Jovanović N.

1 2023

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Playing for and against the microphone: the theatrical soundstage, the cinematic meeting interface