미디어 테크놀로지 시대에서의 퍼포먼스의 ‘라이브니스’

Abstract

This research aims to investigate liveness discourse of media performances and explore the production and reception of recent experimental performances. These aims are based on the fact that ‘liveness’ has become a problematic issue in the areas of both performance studies and performance staging. The purpose of this research is drawn from the following two premises. First, it is inevitable to apply media or digital forms to contemporary performances. Second, our life experiences have been penetrated both implicitly and explicitly by mediatizations, for example media performances, documented performance productions, live broadcast programs, and live TV talk shows, all of which are forms of mixed media. These two assumptions are significant in the liveness theory of Philip Auslander, who first called attention to the ‘liveness’ of media forms in the field of performance discourse. While this research starts from the same assumptions, it raises questions about the liveness of media performances, and it also discusses the limitations that emerge in the production and reception of liveness. Over the course of a detailed exploration, the following three questions will be pursued: How can liveness be produced in relation to the audience’s life experience? Is it real liveness, or is it a simulacrum of liveness? Where can liveness be found if the liveness of performance is the audience’s desire and ideology? For specific investigation, this research will explore how liveness is produced and how the experiences and perceptions of the audience are presented in recently performed experimental productions such as <Dead Cat Bounce>, <Domini Públic>, and <Tagfish>. Eventually, it is expected that this exploration will find another direction that establishes the ontology of performance and represents the diverse discourses of contemporary performances.