Versione classicaVersione mobile

Neodrammatico digitale

 | 
Antonio Pizzo

Fonti

Testo integrale

Bibliografia

1Aarseth, Espen J., Cybertext. Perspectives on Ergodic Literature, Baltimore, The Johns Hopkins University Press, 1997.

2Amaris, Lian, Approaching an analog-digital dialectic: the case of the Blue Man Group, in «Theatre Journal», The Johns Hopkins University Press, vol. 61, n. 4, 2009, pp. 563-573.

3Angelos, Moe, James Gibbs, Richard Schechner, Marianne Weems, Building the Builders Association. A conversation with Marianne Weems, James Gibbs, and Moe Angelos, in «TDR: The Drama Review», MIT Press, vol. 56, n. 3, 2012, pp. 36-57.

4Anker, Verena, Digital Dance: the Effects of Interaction between New Technologies and Dance Performance, Saarbrucken, VDM Verlag Dr. Muller, 2008.

5Antunez Roca, Marcel lì, Membrana, Barcelona, Panspermia, 2009.

6–, Cotrone Performance Illusion. Libro de trabajo, Barcelona, Panspermia, 2010.

7Archer, William, Play-making, in Dramatic Theory and Criticism, a cura di Berdard F. Dukore, New York, Holt, Rinehart and Winston, 1974, pp. 663-668.

8Arinbjarnar, Maria, Heather Barner, Daniel Kudenko, A critical review of interactive drama systems, in AISB 2009 Symposium. AI & Games, a cura di Daniela Romano, David Moffat, Edinburgh, The Society for the Study of Artificial Intelligence and the Simulation of Behaviour,2009, pp. 15-26.

9Aristotele, Poetica, trad. e cura di Pierluigi Donini, Torino, Einaudi, 2008.

10–, Poetica, in Opere, vol. 10, trad. di Manara Valgimigli, Bari, Laterza, 1991, pp. 193-271.

11Aronson, Linda, 21st Century Screenplay. A Comprehensive Guide to Writing Tomorrow’s Films, Crows Nest, Allen & Unwin, 2010.

12Auslander, Philip, Liveness, London - New York, Routledge, 1999.

13–, “Just be your self”. Logocentrism and difference in performance theory, in Acting (Re)Considered. A Theoretical and Practical Guide, a cura di Phillip B. Zarrilli, London - New York, Routledge, 2002, pp. 53-60.

14–, Live from cyberspace: or, I was sitting at my computer this guy appeared, in «PAJ: A Journal of Performance and Art», MIT Press, vol. 24, n. 1, 2002, pp. 16-21.

15–, Digital liveness. A historico-philosophical perspective, in «PAJ: A Journal of Performance and Art», MIT Press, vol. 34, n. 3, 2012, pp. 3-11.

16Aylett, Ruth, Ana Paiva, Pedro Sequeira, Marco Vala, FearNot! An emergent narrative approach to virtual dramas for anti-bullying education, in International Conference on Virtual Storytelling, a cura di Marc Cavazza, S. Donikian, Berlin-Heidelberg, Springer Verlag, 2007, pp. 199-202.

17–, FearNot! Demo: a virtual environment with synthetic character to help bullying, in AAMAS: International Joint Conference on Autonomous Agents and Multiagent System, New York, ACM, 2007, pp. 1381-1382.

18Baker, Collin F., Charles J. Fillmore, John B. Lowe, The Berkeley Framenet Project, in Proceedings of the 36th Annual Meeting of the Association for Computational Linguistics and 17th International Conference on Computational Linguistics, Association for Computational Linguistics, 1998, pp. 86-90.

19Balzola, Andrea, L’utopia della sintesi delle arti dai romantici alle avanguardie, in Le arti multimediali digitali, a cura di Andrea Balzola, Anna Maria Monteverdi, Milano, Garzanti, 2004, pp. 25-53.

20–, Verso una drammaturgia multimediale, in Le arti multimediali digitali, a cura di Andrea Balzola, Anna Maria Monteverdi, Milano, Garzanti, 2004, pp. 300-318.

21–, Principi etici delle arti multimediali, in Le arti multimediali digitali, a cura di Andrea Balzola, Anna Maria Monteverdi, Milano, Garzanti, 2004, pp. 424-447.

22–, Una drammaturgia multimediale. Testi teatrali e immagini per una nuova scena, Roma, Editoria e Spettacolo, 2009.

23Balzola, Andrea, Franco Prono, La nuova scena elettronica. Il video e la ricerca teatrale in Italia, Torino, Rosenberg & Sellier, 1994.

24Balzola, Andrea, Paolo Rosa, L’arte fuori di sé, Milano, Feltrinelli, 2011.

25Bandettini, Anna, In cantina, sui tetti e perfino a tavola, in «la Repubblica», 28 aprile 2009.

26Barbeni, Luca, Web cinema. L’immagine cibernetica, Milano, Costa & Nolan, 2006.

27– , Fino alla fine del cinema, Bologna, Clueb, 2010.

28Barberio Corsetti, Giorgio, Studio Azzurro, La camera astratta, a cura di Valentina Valentini, Milano, Ubulibri, 1988.

29Barr, Tony, Eric Stephan Kline, Acting for the Camera, New York, HarperPerennial, 1997.

30Barthes, Roland, La camera chiara: nota sulla fotografia, trad. it. Di R. Guidieri, Torino, Einaudi, 1980.

31Bartolucci, Giuseppe, La scrittura scenica, Roma, Lerici, 1968.

32Bates, Joseph, Virtual reality, art, and entertainment, in «Presence: Tele-operators and Virtual Environments», MIT Press, vol. 1, n. 1, 1992, pp. 133-138.

33Belfiore, Elizabeth S., Tragic Pleasures: Aristotle on Plot and Emotion, Princeton, Princeton University Press, 1992.

34Bentley, Eric, The Life of the Drama, New York, Applause Theatre Book, 1991 (prima edizione 1964).

35Berghaus, Gunter, Avant-garde Performance: Live Events and Electronic Technologies, Houndmills, Basingstoke - Hampshire, Palgrave Macmillan, 2005.

36Bianconi, Lorenzo (a cura di), La drammaturgia musicale, Bologna, il Mulino, 1994.

37Biral, Francesca, Vincenzo Lombardo, Rossana Damiano, Antonio Pizzo, Cyrano goes to Hollywood: a drama-based metaphor for information presentation, in AIMS 2003, 2003, pp. 17-24.

38Birringer, Johannes, Media & Performance: Along the Border, Baltimore-London, Johns Hopkins University Press, 1998.

39–, Dance and media technologies, in «PAJ: A Journal of Performance and Art», MIT Press, vol. 24, n. 1 2002, pp. 84-93.

40– , Performance, Technology, and Science, New York, PAJ Publications, 2008.

41Bleeker, Maaike, Media dramaturgies of the mind: Ivana Müller’ s cinematic choreographies, in «Performance Research: A Journal of the Performing Arts», vol. 17, n. 5, 2012, pp. 61-70.

42Bloom, Harold, Shakespeare: the invention of the human, New York, Riverhead Books, 1998.

43Blumberg, Bruce M., Christopher Kline, The art and science of synthetic character design, in AISB 1999 Symposium on AI and Creativity in Entertainment and Visual Art, 1999, pp. 1-6.

44Blumberg, Bruce, Bill Tomlinson, Delphine Nain, Expressive autonomous cinematography for interactive virtual environments, in Proceedings of the fourth international conference on Autonomous agents – AGENTS ’00, New York, ACM, 2000, pp. 317-324.

45Bolter, J. David, Richard A. Grusin, Remediation: Understanding New Media, Cambridge, MIT Press, 1999.

46Bordwell, David, Kristin Thompson, Film Art: an Introduction, New York, McGraw-Hill, 2004 (settima ed.).

47Borelli, Maia, Nicola Savarese, Te@tri nella rete. Arti e tecniche dello spettacolo nell’era dei nuovi media, Roma, Carocci, 2004.

48Bosco, Roberta, Stefano Caldana, The artist as interface and Marcel lì Antúnez as Membrane, in MetaMembrana, a cura di Marcel li Antunez Roca, Barcelona, Panspermia S.L., 2009, pp. 9-30.

49Brandt, George W. (a cura di), Modern Theories of Drama, Oxford, Clarendon, 1998.

50Bratman, Michael E., Intentions, Plans, and Practical Reason, Cambridge, Harvard University Press, 1987.

51– , What is intention?, in Intentions in Communication, a cura di Philip R. Cohen, Jerry L. Morgan, Martha E. Pollack, Cambridge, MIT Press, 1990.

52Bratman, Michael E., David J. Israel, Martha E. Pollack, Plans and resource-bounded practical reasoning, in «Computational intelligence», Wiley Periodicals, vol. 4, n. 3, 1988, pp. 349-355.

53Brecht, Bertolt, Scritti teatrali, a cura di Emilio Castellani, Roberto Fertonani, Renata Mertens, Torino, Einaudi, 1987.

54Broadhurst, Susan, Josephine Mchon, Performance and Technology, Londra, Palmgrave, 2011.

55Brooks, C., R.B. Heilman, Understanding Drama, London, Harrap, 1946.

56Brown, Neil C.M., Timothy Barker, Dennis Del Favero. Performing digital aesthetics: the framework for a theory of the formation of interactive narratives, in «Leonardo», Mit Press, vol. 44, n. 3, 2011, pp. 212-219.

57Brunetiere, Ferdinand, The law of drama, in Modern Theories of Drama. Selection of Writings on Drama and Theatre, 1840-1900, a cura di W. George Brandt, Oxford, Clarendon Press, 1998 (prima ed. 1894), pp. 19-24.

58Bruns, John, The polyphonic film, in «New Review of Film and Television Studies», Routledge, vol. 6, n. 2, agosto 2008, pp. 189-212.

59Burril, Derek Alexander, Out of the box: performance, drama, and interactive software, in «Moderna Drama», University of Toronto Press, vol. 48, n. 3, 2005, pp. 492-512.

60Carlson, Marvin, Teorie del teatro: panorama storico e critico, trad. it. Di Leonardo Gandini, Bologna, il Mulino, 1998.

61Carroll, Noel, The Philosophy of Horror, or, Paradoxes of the Heart, New York, Routledge, 1990.

62Carson, Christie, Theatre and technology: battling with the box, in «Digital Creativity», Routledge, vol. 10, n. 3, 1999, pp. 129-134.

63Cascetta, Annamaria, Laura Peja, Ingresso a teatro. Guida all’analisi della drammaturgia, Firenze, Le Lettere, 2003.

64Casetti, Francesco, The communicative pact, in J.E. Muller, Toward a Pragmatics of the Audiovisual, Munster, Nodus, 1994.

65Cataldi, Mario, Rossana Damiano, Vincenzo Lombardo, Antonio Pizzo, Dario Sergi, Integrating commonsense knowledge into the semantic annotation of narrative media objects, in AI*IA 2011: Artificial Intelligence Around Man and Beyond, vol. LNCS 6934, a cura di Roberto Pirrone, Filippo Sorbello, Berlin-Heidelberg, Springer Verlag, 2011, pp. 313-323.

66Cataldi, Mario, Rossana Damiano, Vincenzo Lombardo, Antonio Pizzo, Representing dramatic features of stories through an ontological model, in ICIDS 2011, vol. LNCS 7069, a cura di Mei Si, David Thue, Elisabeth Andre C., James Lester, Joshua Tanenbaum, Veronica Zammitto, Berlin-Heidelberg, Springer Verlag, 2011, pp. 122-127.

67Cavazza, Marc, David Pizzi, Narratology for interactive storytelling: a critical introduction, in TIDSE 2006, a cura di S. Gobel, R. Malkewitz, I. Iurgel, Berlin-Heidelberg, Springer Verlag, 2006, pp. 72-83.

68Cavazza, Marc, Jean-Luc Lugrin, David Pizzi, Madame Bovary on the Holodeck: immersive interactive storytelling, in Proceedings of the 15th International Conference on Multimedia, a cura di Rainer Lienhart, Anand R. Prasad, Alan Hanjalic, Sunghyun Choi, Brian P. Bailey, Nicu Sebe, New York, ACM, 2007, pp. 651-660.

69Chellas, Brian F., Modal Logic: An Introduction, Cambridge, Cambridge University Press, 1980.

70Cohen, Philip R., Hector J. Levesque, Intention is choice with commitment, in «Artificial Intelligente», vol. 42, 1990, pp. 213-261.

71Coleridge, Samuel T., Biographia literaria, trad. e cura di Paola Colaiacomo, Roma, Editori Riuniti, 1991.

72Couldry, Nick, Liveness,“reality”, and the mediated habitus from television to the mobile phone, in «The Communication Review», vol. 7, n. 4, 2004, pp. 353-361.

73Craig, Gordon, Il mio teatro, introduzione e cura di Ferruccio Marotti, Milano, Feltrinelli, 1971.

74Crawford, Chris, Chris Crawford on Interactive Storytelling, Berkeley, New Riders Games, 2005.

75Crisafulli, Fabrizio, Luce attiva. Questioni della luce nel teatro contemporaneo, Corazzano, Titivillus, 2007.

76Croce, Benedetto, Breviario di estetica, Bari, Laterza, 1913.

77Currie, Gregory, Narrative and the psychology of character, in «The Journal of Aesthetics and Art Criticism», Special Issue: The Poetics, Aesthetics, and Philosophy of Narrative, a cura di Noel Carroll, Blackwell Publishing on Behalf of The American Society for Aesthetics, vol. 67, n. 1, 2009, pp. 61-71.

78Currie, Gregory, Work and text, in «Mind», Oxford University Press, vol. 100, n. 3, 1991, pp. 325-340.

79Damasio, Antonio Rosa, L’errore di Cartesio. Emozione, ragione e cervello umano, trad. it. di Filippo Macaluso, Milano, Adelphi, 1995.

80Damiano, Rossana, Antonio Pizzo, Emotions in drama characters and virtual agents, in Emotion, Personality, and Social Behavior, Papers from the 2008 AAAI Spring Symposium, a cura di An Horswill, Eva Hudlicka, Christine Lisetti, Juan D. Velasquez, AAAI Press, 2008, pp. 30-37.

81Damiano, Rossana, Vincenzo Lombardo, Directing value-driven artificial characters, in AAMAS 2011 – Autonomous Agents and Multiagent Systems, a cura di Kaminka van der Hoek, Luck Lesperance, Sen Lesperance, International Foundation for Autonomous Agents and Multiagent Systems, 2010, pp. 1531-1532.

82– , Using values to turn agents into characters, in Agents and Artificial Intelligence – CCIS 67, a cura di Joaquim Filipe, Ana Fred, Bernadette Sharp, Berlin-Heidelberg, Springer Verlag, 2010, pp. 283-296.

83– , Value-driven characters for storytelling and drama, in AI*IA 2009: Emergent Perspectives in Artificial Intelligence, vol. LNAI 5883, a cura di Roberto Serra, Rita Cucchiara, Berlin-Heidelberg, Springer Verlag, 2009, pp. 436-445.

84Damiano, Rossana, Vincenzo Lombardo, Antonio Pizzo, Formal encoding of drama ontology, in Virtual Storytelling. Using Virtual Reality Technologies for Storytelling, vol. LNCS 3805, a cura di Gerard Subsol, Strasbourg, Springer Verlag, 2005, pp. 94-104.

85– , Laying the foundations for a formal theory of drama, in AI*IA 2005: Advances in Artificial Intelligence, a cura di Stefania Baldini, Sara Manzoni, Berlin-Heidelberg, Springer Verlag, 2005, pp. 286-289.

86Dampne, Christiane, Métamorphoses de paysages sensibles, in «Le Dauphine Libre», 26 gennaio 2010.

87D’Angeli, Concetta, Forme della drammaturgia. Definizione ed esempi, Torino, Utet, 2004.

88Davenport, Glorianna, Improvisational media fabric: take one, in Future Cinema: the Cinematic Imaginary After Film, a cura di Jeffery Shaw, Peter Weibe, Cambridge, MIT Press, 2003, pp. 272-279..

89De Marinis, Marco, Lo spettacolo come testo (I), in «Versus. Quaderni di studi semiotici», a cura di Marco De Marinis, Bompiani, n. 21, 1978, pp. 66-100.

90– , Lo spettacolo come testo (II), in «Versus. Quaderni di studi semiotici», Bompiani, n. 22, 1979, pp. 3-28.

91– , Semiotica del teatro.L’analisi testuale dello spettacolo, Milano, Bompiani, 1982.

92– , Dramaturgy of the spectator, in «The Drama Review: TDR», MIT Press, vol. 31, n. 2, 1987, pp. 100-114.

93Dehn, Natalie, Story generation after tale-spin, in Proceedings of the 7th International Joint Conference on Artificial Intelligente, Vancouver, Morgan Kaufmann Publishers, 1981, pp. 16-18.

94Del Favero, Dennis, Timothy S. Barker, Neil C.M. Brown, Performing digital aesthetics: the framework for a theory of the formation of interactive narratives, in «Leonardo», MIT Press, vol. 44, n. 3, 2011, pp. 212-219.

95DeLahunta, Scott, Virtual reality and performance, in «PAJ: A Journal of Performance and Art», vol. 24, n. 1, 2002, pp. 105-14.

96DeMaria, Rusel, Johnny Lee Wilson, High Score!: the Illustrated History of Electronic Games, Berkeley, McGraw-Hill/Osborne, 2002.

97Deriu, Fabrizio (a cura di), Lo schermo e la scena, Venezia, Marsilio, 1999.

98Diderot, Denis, Teatro e scritti sul teatro, a cura di Marialuisa Grilli, Firenze, La Nuova Italia, 1980.

99Dixon, Steve, Digital Performance, Cambridge-London, MIT Press, 2007.

100Dukore, Bernard F., Dramatic Theory and Criticism. Greeks to Grotowski, New York, Holt, Rinehart and Winston, 1974.

101Durham, Leslie Atkins, Found images and networked Americas in the Builders Association’s Alladeen, in «Theatre Journal», vol. 61, n. 4, 2009, pp. 521-538.

102Eco, Umberto, Semiotic of theatrical performance, in «Drama Review», vol. 21, n. 21, marzo 1977, pp. 107-117.

103Egri, Lajos, The Art of Dramatic Writing, New York, Simon & Schuster, 1960 (prima ed. 1946); trad. it. di. R. Gagnor, O. Medici, L’arte della scrittura drammaturgica, Roma, Dino Audino Editore, 2009.

104Elam, Keir, The Semiotic of Theatre and Drama, London-New York, Methuen, 1980; trad. it. di Fernando Cioni, Semiotica del teatro, Bologna, il Mulino, 1998.

105Eskelinen, Markku, Towards computer game studies, in «Digital Creativity», Routledge, vol. 12, n. 3, 2001, pp. 175-183.

106Esslin, Martin, The Field of Drama, New York, Methuen Drama, 1987.

107Ferry, Luc, Homo Aestheticus: l’invenzione del gusto nell’era della democrazia, trad. it. di Carlo Gazzelli, Genova, Costa & Nolan, 1991.

108Field, Syd, The Definitive Guide to Screenwriting, London, Ebury Press, 2003.

109Forster, Morgan, Aspect of the Novel, Harmondworth, Penguin Books, 1962 (prima ed. 1927).

110Fossati, Paolo, La realtà attrezzata. Scena e spettacolo nei futuristi, Torino, Einaudi, 1977.

111Freytag, Gustav, The Technique of Drama. An Exposition of Dramatic Composition and ART, trad. di Elias J. MacEwan, Amsterdam, Fredonia Books, 2005 (prima ed. 1899).

112Furse, Anna, Theatre in Pieces: Politics, Poetics, and Interdisciplinary Collaboration: an Anthology of Play Texts 1966-2010, London, Methuen Drama, 2011.

113Gallagher-Ross, Jacob, Image eaters: Big Art Group brings the noise, in «TDR: The Drama Review», vol. 54, n. 4, 2010, pp. 54-80.

114Galyean, Tinsley Azariah, Narrative Guidance of Interactivity, tesi di dottorato, Program in Media Arts & Sciences, Cambridge, MIT, 1995.

115Gangemi, Aldo, Ontology design patterns for semantic web content, in The Semantic Web - ISWC 2005, a cura di Yolanda Gil, Enrico Motta, V. Richard Benjamins, Mark A. Musen, Berlin-Heidelberg, Springer Verlag, 2005, pp. 262-276.

116Gerrig, Richard J., Allan B.I. Bernardo, Readers as problem-solvers in the experience of suspense, in «Poetics», vol. 22, n. 6, dicembre 1994, pp. 459-472.

117Gervás, Pablo, Computational approaches to storytelling and creativity, in «AI Magazine», Association for the Advancement of Artificial Intelligence, vol. 30, n. 3 2009, pp. 49-62.

118Gigliozzi, Giuseppe, Introduzione all’uso del computer negli studi letterari, a cura di Fabio Ciotti, Milano, Paravia - Bruno Mondadori, 2003.

119Giovannelli, Alessandro, Immaginare storie e personaggi, voll. IX-X, in Annali del Dipartimento di Filosofia 2003-2004, Firenze, Firenze University Press, 2004, pp. 281-298.

120– , In sympathy with narrative characters, in «The Journal of Aesthetics and Art Criticism», Special Issue: The Poetics, Aesthetics, and Philosophy of Narrative, a cura di Noel Carroll, Blackwell Publishing on behalf of The American Society for Aesthetics, vol. 67, n. 1, 2009, pp. 83-95.

121Glassner, Andrew S., Interactive Storytelling: Techniques for 21st Century Fiction, Natick, A.K. Peters, 2004.

122Goy, Anna, Ilaria Torre, Agenti artificiali e agenti intelligenti: paradigmi, applicazioni e prospettive, in «Lexia», volume monografico Attanti, Attori, Agenti, a cura di Massimo Leone, Aracne, n. 3-4, 2009, pp. 299-315.

123Greimas, Algirdas Julien, Del Senso 2. Narrativa, modalità, passioni, trad. it. di Patrizia Magli, Maria Pia Pozzato, Milano, Bompiani, 1985 (ed. originale 1983).

124Grodal, Torben, Moving Pictures: A New Theory of Film Genres, Feelings and Cognition, Oxford, Oxford University Press, 1997.

125Gunn, E., B.C.W. Craenen, E. Hart, A taxonomy of video games and AI, in AI and Games Symposium, a cura di Daniela Romano, David Moffat, Edinburgh, The Society for the Study of Artificial Intelligence and the Simulation of Behaviour, 2009, pp. 4-14.

126Hagebolling, Heidi, Elements of a history of interactive dramaturgies, in Interactive Dramaturgies. New Approaches in Multimedia Content and Design, a cura di Heidi Hagebolling, Berlin-Heidelberg, Springer Verlag, 2004, pp. 9-16.

127Hatcher, Jeffrey, The Art & Craft of Playwriting, Cincinnati, Story Press, 1996; trad. it. di Roberto Cruciani, Scrivere per il teatro. Teoria, tecnica ed esercizi, Roma, Dino Audino, 2002.

128Hayes-Roth, Barbara, Robert Van Gent, Acting in character, in Creating Personalities for Synthetic Actors, a cura di Paolo Petta, Robert Trapp, Berlin-Heidelberg, Springer Verlag, 1997, pp. 92-112.

129Hegel, Georg Wilhelm Friedrich, Estetica, a cura di Nicolao Merker, trad. it. di Sergio Givone, Torino, Einaudi, 1997.

130Hiltunen, Ari, Aristotle in Hollywood: The Anatomy of Successful Storytelling, Bristol, Intellect, 2002.

131Honzl, Jindrich, Dynamics of the sign in the theatre, in Semiotic of Art, a cura di Ladislaw Matejka, R. Irwin Titunik, trad. di R. Irwin Titunik, Cambridge, MIT Press, 1976.

132Houtman, Coral, Adventures in remediation: the making of Echo, in «Digital Creativity», Routledge, vol. 22, n. 4, 2011, pp. 263-274.

133Jauss, Hans-Robert, Esperienza estetica ed ermeneutica letteraria, trad. it. di B. Argenton, Bologna, il Mulino, 1987-1988.

134Jones, Henry Arthur, Introduction, in Ferdinand Brunetiere, The Law of Drama, trad. di Henry Arthur Jones, New York, Dramatic Museum of Columbia University, 1914, pp. 1-62.

135Kaye, Nick, Screening presence: the Builders Association and Dbox, SUPER VISION (2005), in «Contemporary Theatre Review», Routledge, vol. 17, n. 4, 2007, pp. 557-577.

136Kaye, Nick, Gabriella Giannachi, Acts of presence: performance, mediation, virtual reality, in «TDR: The Drama Review», MIT Press, vol. 55, n. 4, 2011, pp. 88-95.

137Kent, Steven L., The Ultimate History of Video Games, New York, Random House International, 2002.

138King, Lucien, Game On: The History and Culture of Videogames, New York, Universe Pub, 2002.

139Kirby, Michael, On acting and not-acting, in «TDR: The Drama Review», vol. 16, n. 1, 1971, pp. 3-15; apparso anche in Phillip B. Zarrilli (a cura di), Acting (Re)Considered. A Theoretical and Practical Guide, New York - London, Routledge, 2002, pp. 40-52; trad. it. di

140Mario Prosperi, Recitare e non recitare, in «Acting Archives Review», vol. 1, n. 1, 2011, pp. 172-188.

141Kitto, H.D.F., Form and Meaning in Drama, London, Methuen, 1956.

142Klich, Rosemary, Edward Scheer, Multimedia Performance, New York, Palgrave Macmillan, 2012.

143Laurel, Brenda, Computer as Theatre, Addison Wesley, Longman, 1993.

144Lavandier, Yves, L’ABC della drammaturgia, trad. it. di Corinna Larcher, Roma, Dino Audino, 2001.

145Lavender, Andy, The moment of realised actuality, in Theatre in Crisis? Performance Manifestos for a New Century, a cura di Maria Delgado, Caridad Svich, Manchester, Manchester University Press, 2002.

146Lebowitz, Michael, Story-telling as planning and learning, in «Poetics», Elsevier, vol. 14, n. 6, 1985, pp. 483-502.

147Leclerc, Yvan (a cura di), Plans et scénarios de “Madame Bovary”, Paris, CNRS Editions - Zulma, 1995.

148Lehmann, Hans-Thies, Postdramatic Theatre, trad. di Karen Jurs-Munby, London, Routledge, 2006.

149– , Cosa significa teatro postdrammatico?, in «Prove di drammaturgia», Titivillus, n. 1, giugno 2010, pp. 4-7.

150– , La presenza del teatro, in «Culture teatrali», numero monografico On Presence, a cura di Enrico Pitozzi (I Quaderni del Battello Ebbro, n. 21), 2011, pp. 17-30.

151Lessing, Gotthold Ephraim, Drammaturgia d’Amburgo, trad. it. di Paolo Chiarini, Roma, Bulzoni, 1975.

152Levy, Pierre, Qu’est-ce que le virtuel?, Paris, Edition La Decouverte, 1995; trad. it. di Marica Colo, Maddalena Di Sopra, Il virtuale, Milano, Raffaello Cortina, 1997.

153Loyall, A. Bryan, Believable Agents: Building Interactive Personalities, tesi di dottorato, School of Computer Science, Carnagie Mellon University, Pittsburgh, 1997.

154Lukács, György, Il dramma moderno, trad. it. di Luisa Coeta, Milano, Sugarco, 1976.

155Lyotard, Jean Francois, La condition postmoderne, Paris, Les Editions de Minuit, 1979; trad. it. di Carlo Formenti, La condizione postmoderna, Milano, Feltrinelli, 2001 (prima ed. 1981).

156Mamet, David, Three Uses of the Knife, London, Methuen, 2002; trad. it. di Flavia Abbinate, Andreina Lombardi Bom, Bruna Tortorella, I tre usi del coltello, Roma, Minimum Fax, 2002.

157Mancini, Franco, L’evoluzione dello spazio scenico, dal naturalismo al teatro epico, Bari, Dedalo, 1975.

158– , L’illusione alternativa. Lo spazio scenico dal dopoguerra ad oggi, Torino, Einaudi, 1980.

159Mango, Lorenzo, La scrittura scenica. Un codice e le sue pratiche nel teatro del Novecento, Roma, Bulzoni, 2003.

160– , Il problema del dramma nell’epoca del postdrammatico, in «Prove di drammaturgia», Titivillus, n. 1, giugno 2010, pp. 39-43.

161– , Drammaturgia scenica e performance digitale, in Marcel·lìAntúnez Roca e la performatività digitale, a cura di T. Mazali, F. Mazzocchi, A. Pizzo, Acireale-Roma, Bonanno, 2011, pp. 33-40.

162Manovich, Lev, The Languages of New Media, Cambridge, MIT Press, 2001.

163– , Software Takes Command, 2010; trad. it. di Matteo Tarantino, Software Culture, Milano, Olivares, 2012.

164Manovich, Lev, Andreas Kratky, Soft Cinema: Navigating the Database (Book + DVD), Cambridge, MIT Press, 2005.

165Manovich, Lev, Jason Danziger, Andreas Kratky, Ruth M. Lorenz, Soft Cinema [catalogo], Berlino, ZKM, 2003.

166Marranca, Bonnie, The Theatre of Images: Robert Wilson, Richard Foreman, Lee Breuer, Baltimore, Johns Hopkins University Press, 1996.

167– , Performance as design. The mediaturgy of John Jesurun’s Firefall, in «PAJ: A Journal of Performance and Art», MIT Press, vol. 32, n. 3, 2010, pp. 16-24.

168Marsella, Stacy C., W. Lewis Johnson, Catherine La Bore, Interactive pedagogical drama, in Proceedings of the Fourth International Conference on Autonomous Agents, New York, ACM, 2000, pp. 301-308.

169– , Interactive pedagogical drama for health interventions, in Artificial Intelligence in Education, a cura di Ulrich Hoppe, Maria Feliza Verdejo, Judy Kay, IOS Press, 2003, pp. 341-358.

170Mateas, Michael, An Oz-centric review of interactive drama and believable agents, in Artificial Intelligence, vol. LNCS 1600, a cura di Michael J. Wooldridge, Manuela Veloso, Berlin, Hedelberg, Springer Verlag, 1999, pp. 297-306.

171– , A preliminary poetics for interactive drama and games, in «Digital Creativity», Routledge, vol. 12, n. 3, 2001, pp. 140-152.

172– , Interactive Drama, Art and Artificial Intelligence, tesi di dottorato, Computer Science, Carnagie Mellon University, Pittsburgh, 2002.

173Mateas, Michael, Andrew Stern, Writing Façade: a case study in procedural autorship, in Second Person. Role-Playing and Story in Games and Playable Media, a cura di Pat Harringan, Noah Wardrip-Fruin, Cambridge, MIT Press, 2007, pp. 183-207.

174Mazali, Tatiana, Federica Mazzocchi, Antonio Pizzo, Marcel·lì Antúnez Roca e la performatività digitale, Acireale-Roma, Bonanno, 2011.

175Mazzocchi Federica, L’attore, dall’animazione teatrale alla scena digitale, in «Acting Archives Review», vol 1, n. 1, 2011, pp. 229-266.

176McKee, Robert, Story, New York, Harper Collins, 1997; trad. it. di Lampo Calenda, Alessandra Martucci, Story: contenuti, struttura, stile, principi della sceneggiatura per il cinema e la fiction TV, Roma, International Forum, 2000.

177Miller, Arthur, Introduction, vol. 1, in Id., Plays: All My Sons; Death of a Salesman; The Crucible; A Memory of Two Mondays; A View from the Bridge, London, A&C Black, 2009.

178– , Death of a salesman: a modern tragedy?, in Id., Modern Theories of Drama. A Selection of Writings on Drama and Theatre, 1840-1990, a cura di George W. Brandt, Oxford, Clarendon Press, 1998, pp. 106-112.

179Miller, Carolyn H., Digital Storytelling: A Creator’s Guide to Interactive Entertainment, Amsterdam, Focal Press, 2004.

180Miller, George A., WordNet: a lexical database for English, in «Communications of the ACM», vol. 38, n. 11, novembre 1995, pp. 39-41.

181Miller, Heidi R., Super Vision [review], in «Theatre Journal», vol. 59, n. 4, 2008, pp. 658-660.

182Monteverdi, Anna Maria, La creazione di una nuova (bio) drammaturgia, in Andrea Balzola, Una drammaturgia multimediale. Testi teatrali e immagini per una nuova scena, Roma, Editoria e Spettacolo, 2009, pp. 27-31.

183– , Nuovi media, nuovo teatro. Teorie e pratiche tra teatro e digitalità, Milano, Franco Angeli, 2011.

184Moor, James H., Three myths of computer science, in «British Journal for the Philosophy of Science», vol. 29, n. 3, 1978, pp. 213-222.

185Moor, James (a cura di), The Turing Test: the Elusive Standard of Artificial Intelligence, Dordrecht-Boston, Kluwer Academic Publishers, 2003.

186Murray, Janet H., Anatomy of a new medium: literary and pedagogic uses of advanced linguistic structures computer, in «Computers and the Humanities», Springer, vol. 25, n. 1, 1991, pp. 1-14.

187– , Hamlet on the Holodeck. The Future of Narrative in Cyberspace, New York, Free Press, 1997.

188– , From game-story to cyberdrama, in First Person. New Media as Story, Performance, and Game, a cura di Noah Wardrip-Fruin, Pat Harrigan, Cambridge-London, The MIT Press, 2004, pp. 2-10.

189Murtaugh, Michael Luke, The Automatist Storytelling System. Putting the Editor’s Knowledge in Software, tesi di dottorato, Program in Media Arts & Sciences, Cambridge, MIT, 1996.

190Negroponte, Nicholas, Essere digitali, trad. it. di Franco Filippazzi, Giuliana Filippazzi, Milano, Sperling & Kupfer, 1995.

191Newman, Ira, Virtual people: fictional characters through the frames of reality, in «The Journal of Aesthetics and Art Criticism», Special Issue: The Poetics, Aesthetics, and Philosophy of Narrative, a cura di Noel Carroll, Blackwell Publishing on Behalf of The American Society for Aesthetics, vol. 67, n. 1, 2009, pp. 73-82.

192Nicoll, Allardyce, The Theatre adn Dramatic Theory, London, Harrap, 1962.

193Nilsen, Don L.F., Allen Pace Nilsen, Nathan H. Combs, Teaching a Computer to Speculate, in «Computers and the Humanities», Springer, vol. 22, n. 3, 1988, pp. 193-201.

194Olleì, Alex, Albert Mauri, La Fura dels Baus, 1979-2004, Barcelona, Electa, 2004.

195Olson, Elder, Tragedy and the Theory of Drama, Detroit, Wayne State University Press, 1961.

196Ong, Walter, Orality and Literacy, London, Methuen, 1982; ed. or. 1982; trad. it. di A. Calanchi, Oralità e scrittura, Bologna, il Mulino, 1986.

197Ortony, Andrew, Gerald L. Clore, Allan Collins, The Cognitive Structure of Emotions, Cambridge, Cambridge University Press, 1988.

198Packer, Randall, Ken Jordan, Multimedia: from Wagner to Virtual Reality, New York, Norton & Company, 2001.

199Parker-Starbuck, Jennifer, Global friends: The Builders Association at BAM, in «PAJ: A Journal of Performance and Art», MIT Press, vol. 26, n. 2, 2004, pp. 96-102.

200Pavis, Patrice, L’analyse des spectacles: theìâtre, mime, danse, danse-theìâtre, cineìma, Paris, Nathan, 1996; trad. di David Williams, Analyzing Performance: Theatre, Dance, and Film, Ann Arbor, University of Michigan Press, 2003; trad. it. di D. Buzzolan, R. Cortese, L’analisi degli spettacoli. Teatro, mimo, danza, teatro-danza, cinema, Torino, Lindau, 2004.

201Perrelli, Franco, La seconda creazione. Fondamenti della regia teatrale, Torino, Utet, 2005.

202Pfister, Manfred, The Theory and Analysis of Drama, trad. di John Halliday, Cambridge, Cambridge University Press, 1988.

203Phillips, Melanie Anne, Chris Huntley, Dramatica. A New Theory of Story, Glendale, Write Brothers Press, 2004.

204Pias, Claus, Action, adventure, desire. Interaction with PC games, in Interactive Dramaturgies: New Approaches in Multimedia Content and Design, a cura di Heide Hagebölling, Berlin - New York, Springer, 2004, pp. 133-147.

205Picon-Vallin, Beatrice, La scène et les images, in Les vois de la création théatrale, Paris, Centre National de la Recherche Scientifique (CNRS), 2001.

206Pitozzi, Enrico, Figurazioni: uno studio sulle gradazioni di presenza, in «Culture teatrali», numero monografico On Presence, a cura di Enrico Pitozzi (I Quaderni del Battello Ebbro, n. 21), 2011, pp. 107-127.

207Pizzi, David, Fred Charles, Jean-Luc Lugrin, Marc Cavazza, Interactive storytelling with literary feelings, in Affective Computing and Intelligent Interaction, vol. LCNS 4738, a cura di A.C.R. Paiva, R. Prada, R.W. Picard, Berlin-Heidelberg, Springer, 2007, pp. 630-641..

208Pizzi, David, Marc Cavazza, Jean-Luc Lugrin, Extending character-based storytelling with awareness and feelings, in Proceedings of the 6th International Joint Conference on Autonomous Agents and Multiagent Systems, New York, ACM Press, 2007, art. n. 12.

209Pizzo, Antonio, Teatro e mondo digitale, Venezia, Marsilio, 2003.

210– , Identity, transformation, and digital languages: a conversation with Ali Zaidi, in «Noema Lab», 22 ottobre 2006, http://noemalab.eu/​ideas/​interview/​identity-transformation-and-digital-languages-aconversation-with-ali-zaidi/​ (consultato il giorno 3 giugno 2012).

211– , Attori e personaggi virtuali, in «Acting Archives Review», Acting Archives, vol. 1, n. 1, 2011, pp. 83-118.

212– , Dramma e scrittura: un paradigma procedurale, in Parole ed estetica dei nuovi media, a cura di Elena Tavani, Roma, Carocci, 2011.

213– , La drammaturgia in Cotrone: scrittura e interattività, in Marcel·lì Antúnez Roca e la performatività digitale, a cura di T. Mazali, F. Mazzocchi, A.Pizzo, Acireale-Roma, Bonanno, 2011, pp. 47-56.

214– , Sistematurgia: la quarta parete e lo schermo, in «Mimesis Journal», Universita degli Studi di Torino, vol. 1, n. 2, dicembre 2012, pp. 12-146..

215Polti, Georges, The Thirty-six Dramatic Situations, trad. di Lucille Rey, Boston, The Writers, 1940.

216Pontremoli, Alessandro, Per una drammaturgia coreutica, in Drammaturgia della danza. Percorsi coreografici del secondo Novecento, a cura di Alessandro Pontremoli, Milano, Euresis Edizioni, 1997.

217Rao, A.S., M.P. Georgeff, BDI-agents: from theory to practice, in CMAS–95, First International Conference on Multi-Agent Systems: Proceedings, June 12-14, 1995, San Francisco, California, a cura di Victor Lesser, Les Gasser, Cambridge, MIT Press, 1995, pp. 312-319.

218Reale, Giovanni, Saggio introduttivo, in Platone, Ione, Milano, RCS, 2001, pp. 13-72.

219Reed Doob, Penelope, The Idea of the Labyrinth: From Classical Antiquity Through the Middle Ages, Ithaca-London, Cornell University Press, 1990.

220Reeves, Byron, Clifford Nass, The Media Equation: How People Treat Computers, Television, and New Media Like Real People and Places, Cambridge, Cambridge University Press, 1996.

221Riedl, Mark O., R. Michael, Young, From linear story generation to branching story graphs, in «IEEE Journal of Computer Graphics and Applications», maggio-giugno 2006, pp. 23-31.

222–, An intent-driven planner for multi-agent story generation, in Proceedings of the 3rd International Conference on Autonomous Agents and Multi Agent Systems, a cura di Nicholas R. Jennings, Carles Sierra, Liz Sonenberg, Milind Tambe, ACM, 2004, pp. 186-193.

223Roberts, David L., L. Charles Isbel, A survey and qualitative analysis of recent advances in drama management, in «International Transactions on Systems Science and Application», Systemics and Informatics World Network, vol. 4, n. 2, 2008, pp. 61-75.

224Rosenberg, Marvin, To know a Shakespeare character, in Shakespeare, Text and Theater: Essays in Honor of Jay L. Halio, a cura di Lois Potter, Arthur F. Kinney, Delaware, Associate University Press, 1999.

225Rotman, Brian, Becoming Beside Ourselves: the Alphabet, Ghosts, and Distributed Human Being, Durham, Duke University Press, 2008.

226Rousseau, Daniel, Barbara Hayes-Roth, Interacting with Personality Rich-characters, Report n. KSL 97-06, Department of Computer Science, Stanford University, Stanford, 1997.

227Ryan, Marie Laure, Narrative as Virtual Reality, Baltimore, John Hopkins University Press, 2001.

228–, (a cura di), Narrative Across Media: The Languages of Storytelling, Lincoln London, University of Nebraska, 2004.

229–, Avatar of Story, Minnesota, University of Minnesota Press, 2006.

230Ryngaert, Jean-Pierre, L’analisi del testo teatrale, trad. it. di Letizia Volpini, Roma, Dino Audino, 2006.

231Saarinen, Leena, Comedy machine: interactive comedy as rule-based genre, in «Digital Creativity», Routledge, vol. 18, n. 3, 2007, pp. 143-150.

232Saltz, David Z., Live media: interactive technology and theatre, in «Theatre Topics», The Johns Hopkins University Press, vol. 11, n. 2, 2001, pp. 107-130.

233Sapienza, Annamaria, La tecnologia nella sperimentazione teatrale italiana degli anni ottanta. Tre esempi, Napoli, Istituto Universitario Orientale, 1992.

234Schank, Roger C., Robert P. Abelson, Scripts, Plans, Goals, and Understanding: An Inquiry into Human Knowledge Structures, Hillsdale, Lawrence Erlbaum Associates, 1977.

235Schino, Mirella, La nascita della regia teatrale, Bari, Laterza, 2005.

236Seger, Linda, Creating Unforgettable Characters. A Practical Guide to Character Development, New York, Holt, 1990.

237Segre, Cesare, Teatro e romanzo, Torino, Einaudi, 1984.

238Sengers, Phoebe, Designing comprehensible agents, in Proceedings of the Sixteenth International Joint Conference of Artificial Intelligence, a cura di Thomas L. Dean, San Francisco, Morgan Kaufmann Publishers, 1999, pp. 1227-1232.

239Serpieri, Alessandro, Keir Elam, Paola Gulli Publiatti, Tomaso Kemeny, Romana Rutelli, Toward a segmentation of the dramatic text, in «Poetics Today», Duke University Press, vol. 2, n. 3, 1981, pp. 163-200.

240Shakespeare, William, Hamlet, a cura di Harold Jenkins, London, The Arden Shakespeare, Thomas Learning, 2000.

241Shaw, George Bernard, Prefazione, in La professione della signorina Warren, in Id., Opere, Torino, Utet, 1966, p. 110.

242Smith, Greg M., Film Structure and the Emotion System, New York, Cambidge University Press, 2003.

243Souriau, Etienne, Le deux cent mille situation dramatiques, Paris, Flammarion, 1950.

244Spencer, Stuart, The Playwrigt’s Guidebook, New York - London, Faber and Faber, 2002.

245Sprague, Arthur Colby, Shakespeare and the Actors: the Stage Business in his Plays (1600-1905), Cambridge, Harvard University Press, 1944.

246States, Bert O., The actor’s presence. Three phenomenal modes, in Acting (re)Considered. A Theoretical and Practical Guide, a cura di Phillip B. Zarrilli, London - New York, Routledge, 2002, pp. 23-39.

247Stern, Andrew, Deeper conversations with interactive art: or why artists must program, in «Convergence: The International Journal of Research into New Media», vol. 7, n. 1, 2001, pp. 17-24.

248Strindberg, August, Preface to Miss Julie, in Id., Modern Theories of Drama. A Selection of Writings on Drama and Theatre, 1840-1990, a cura di George W. Brandt, Oxford, Clarendon Press, 1998, pp. 89-98.

249Styan, John L., The Elements of Drama, Cambridge, Cambridge University Press, 1993 (prima ed. 1960).

250Sussman, Mark J., Alladeen [review], in «Theatre Journal», vol. 56, n. 4, 2004, pp. 695-697.

251Sweet, Jeffrey, The Dramatist Toolkit. The Craft of the Working Playwright, Portsmouth, Heinemann, 1993.

252Szilas, Nicolas, IDtension: a narrative engine for interactive drama, in Technologies for Interactive Digital Storytelling and Entertainment. TIDSE 2003 Proceedings, a cura di Stefan Gobel, Norbert Braun, Ulrike Spierling, Johanna Dechau, Holger Diener, Darmstadt, Fraunhofer IRB Verlag, 2003, pp. 187-203.

253–, A Computational Moodel of an Intelligent Narrator for Interactive Narratives, in «Applied Artificial Intelligence», Taylor & Francis, vol. 21, n. 8, 2007, pp. 753-801.

254Szilas, Nicolas, Monica Axelrad, To be or not to be: towards stateless interactive drama, in Interactive Storytelling, a cura di Ido Iurgel, Nelson Zagalo, Paolo Petta, Berlin-Heidelberg, Springer, 2009, pp. 280-291.

255Szilas, Nicolas, Olivier Marty, Jean-Hugues Rety, Authoring highly generative interactive drama, in Virtual Storytelling. Using Virtual Reality Technologies for Storytelling, vol. LNCS 2897, a cura di Olivier Balet, Gerard Subsol, Patrice Torguet, Berlin-Heidelberg, Springer Verlag, 2003, pp. 37-46.

256Szondi, Peter, Teoria del dramma moderno – 1880-1950, trad. it. di G.L., Torino, Einaudi, 1962.

257Tan, Ed S., Emotion and the Structure of Narrative Film: Film as an Emotion Machine, trad. di Barbara Fasting, Mahwah, Lawrence Erlbaum, 1996.

258Ticconi, Luca, L’immagina esplorata. Il linguaggio del cinema nei videogiochi, in «Biblioteca teatrale», Bulzoni, n. 81-82, gennaio-giugno 2007, pp. 145-168.

259Tierno, Michael, Aristotle’s Poetics for Screenwriters, New York, Hyperion, 2002.

260Tomlinson, Bill, Bruce M. Blumberg, Delphine Nain, Expressive autonomous cinematography for interactive virtual environments, in Proceedings of the Fourth International Conference on Autonomous Agents – AGENTS ’00, New York, ACM Press, 2000, pp. 317-324.

261Tonucci, Giulia, Digital performance: una ridefinizione del concetto di presenza, in «Culture teatrali», numero monografico On Presence, a cura di Enrico Pitozzi (I Quaderni del Battello Ebbro, n. 21), 2011, pp. 59-69.

262Tuomola, Mika, Heikki Leskinen, Daisy’s amazing discoveries: Part 1 - The production, in «Digital Creativity», Routledge, vol. 9, n. 2, 1998, pp. 75-90.

263Tuomola, Mika, Daisy’s amazing discoveries: Part 2 - Learning from interactive drama, in «Digital Creativity», Routledge, vol. 9, n. 3, 1998, pp. 137-152.

264Turner, Cathy, Synne K. Behrndt, Dramaturgy and Performance, New York, Palmgrave Macmillan, 2008.

265Valentini, Valentina, Teatro in immagine, Roma, Bulzoni, 1987.

266–, La camera astratta, in Giorgio Barberio Corsetti, Studio Azzurro, La camera astratta, Milano, Ubulibri, 1988.

267Van Riemsdijk, M. Birna, Mehdi Dastani, Michael Winikoff, Goals in agent systems: a unifying framework, in Proceedings of 7th International Conference on Autonomous Agents and Multiagent Systems (AAMAS 2008), a cura di Padgham, Parkes, Muller, Parson, International Foundation for Autonomous Agents and Multiagent Systems, 2008, pp. 713-720.

268Vicentini, Claudio, La teoria della recitazione. Dall’antichità al Settecento, Venezia, Marsilio, 2012.

269Weems, Marianne, I dream of global genies, in «American Theatre», Dicembre 2003, pp. 24-28.

270Wehle, Philippa, Live performance and technology: the example of Jet Lag, in «PAJ: A Journal of Performance and Art», MIT Press, vol. 24, n. 1, 2002, pp. 133-139.

271Weizenbaum, Joseph, ELIZA a computer program for the study of natural language communication between man and machine, in Communications of the Association for Computing Machinery, 1966, pp. 36-45.

272Wickstrom, Maurya, Data bodies and the awesome apparatus of technology, in «PAJ: A Journal of Performance and Art», MIT Press, vol. 28, n. 2, 2006, pp. 95-102.

273Wilson, Dover, What Happens in Hamlet, Cambridge, Cambridge University Press, 1951.

274Wooldridge, Michael, Nicholas Jennings, Intelligent agents: theory and practice, in «The Knowledge Engineering Review», Cambridge Journal, vol. 10, n. 2, 1995, pp. 115-152.

275Zagalo, Nelson, Anthony Barker, Vasco Branco, Story reaction structures to emotion detection, in 1st ACM Workshop on Story Representation, Mechanism and Context – SRMC ’04, New York, ACM Press, 2004, pp. 33-38.

276Zarrilli, Phillip B., Introduction, in Acting (Re)Considered: a Theoretical and Practical Guide, a cura di Phillip B. Zarrilli, London – New York, Routledge, 2001, pp. 7-22.

277–, An enactive approach to understanding acting, in «Theatre Journal», The Johns Hopkins University Press, vol. 59, 2007, pp. 635-647.

Web

278(tra parentesi la data dell’ultimo accesso)

279Accidental Lovers. http://mlab.uiah.fi/​~lsaarine/​accidentallovers.html (19 ottobre 2012).

280AMPAS. “Rules for the 83rd Annual Academy Awards.” The Academy of Motion Picture Arts and Sciences. 2010. http://www.oscars.org/​awards/​academyawards/​rules/​rule07.html (20 giugno 2010).

281Antúnez Roca, Marcel lì, “Protomembrana Es Una Leccíon Mecatrónica, En Formato Performance, Para Un Dreskeleton, Un Entorno Audiovisual Interactivo Y Distintas Interfaces Dinamicas.” www.marceliAntúnez.com. Panspermia. 2005. http://www.marceliantunez.com/​tikiwiki/​tiki-read_article.php?articleId=161 (11marzo 2011).

282–, “Sistematurgia.” Marcel lì Antúnez Roca. 2005 04. http://www.marceliantunez.com/​tikiwiki/​tiki-read_article.php?articleId=142 (12 giugno 2010).

283Barberi, Daniele. «Ocula – saggi.» novembre 1998. http://www.ocula.it/​files/​dbarbieri-le_36_situazioni_[270,713Kb].pdf (15 luglio 2012).

284Chi, June. “James Camerun and The Giant Hype: Motion Capture Misrepresented?” SciFi Mafia/News. http://scifimafia.com/​2010/​03/​james-cameron-and-the-giant-hype-motion-capture-misrepresen ted (11 novembre 2010).

285Compagnia Adrien M. Claire B. Pagina Web Cinematique. Compagnia Adrien M / Claire B. 2012. http://www.am-cb.net/​projets/​cinematique (10 giugno 2012).

286Konic thtr. Koniclab. Koniclab. 2012. Koniclab.info (11 giugno 2012).

287Korsakow: Dynamic Storytelling. http://korsakow.org/​ (19 ottobre 2012).

288Kohler, Chris. “Hands On: Milo and Kate, and Other Project Natal Games.” Wired Blog Game Life. http://www.wired.com/​gamelife/​2009/​06/​project-natal/​#ixzz0vRthMz3y (21 agosto 2010).

289Lionhead Studios. Black & White. 2010. http://lionhead.com/​Games/​BW (accessed 2010 йил 23-agosto).

290Manovich, Lev. Soft Cinema: Ambient Narrative. http://www.softcinema.net/​ (19 ottobre 2012).

291Officine Sintetiche. “Officine Sintetiche.” Officine Sintetiche. 2009. http://www.officinesintetiche.unito.it/​activities2007.html (2 dicembre 2012).

292Pizzo Antonio, “Story Line Cotrone.” Officine Sintetiche. http://www.officinesintetiche.it/​ita/​cotrone_presentazione.html (6 dicembre 2010).

293Silberman, Steve. “Q&A: King of Mo-Cap Andy Serkis on Digital Acting and Gollum’s Oscar Diss.” Wired. 14 settembre 2007. http://www.wired.com/​entertainment/​hollywood/​magazine/​15-10/​pl_serkis#ixzz0wCMuwQRm (11 novembre 2010). The Builders Association. The Builder Association. http://www.thebuildersassociation.org/​prod_alladeen_info.html (7 maggio 2012).

294Wikipedia Contributors. “Milo and Kate.” Wikipedia, The Free Encyclopedia. 2010. http://en.wikipedia.org/​w/​index.php?title=Milo_and_Kate&oldid=380496824 (23 agosto 2010).

Media

295Assassin’s Creed. Diretto da Patrice Desilets. Prodotto by Sebastien Puel. Distribuito da Ubisoft, 2009.

296Black and White, Ideato da Peter Molyneux. Distribuito da Electronic Arts. 2001.

297The Gateaway e stato pubblicato da Sony per Playstation2 nel 2002 ed ha avuto un sequel nel 2004.

298Heavy Rain, creato da Quantic Dream nel 2010

299Babel. Diretto da Alejandro Gonzalez Inarritu. Prodotto da Paramount Pictures. 2006.

300Crash. Diretto da Paul Haggis. Prodotto da Bob Yari Productions. 2004.

301Hamlet. Diretto da Laurence Olivier. Prodotto da Two Cities Films. Interpretato da Laurence Olivier. 1948.

302Hamlet. Diretto da Franco Zeffirelli. Prodotto da Warner Bros, Canal Plus. Interpretato da Mell Gibson e Helena Bonham Carter. Warner Bros, 1990.

303Hamlet. Diretto da Kenneth Branagh. Prodotto da Castle Rock Entertainment. Interpretato da Kenneth Branagh e Kate Winslet. Sony Pictures Entertainment, 1996.

304Magnolia. Diretto da Paul Thomas Anderson. Prodotto da New Line Cinema. 1999.

305The Sims. Ideato da Will Wright. Distribuito da Electronic Arts. 2000 poi 2004 (The Sims2) e 2009 (The Sims3).

306Spores. Ideato da Will Wright. Distribuito da Electronic Arts. 2008.

CC-BY-NC-ND-4.0

Solamente il testo è utilizzabile con licenza CC BY-NC-ND 4.0. Salvo diversa indicazione, per tutti agli altri elementi (illustrazioni, allegati importati) la copia non è autorizzata ("Tutti i diritti riservati").

Cerca su OpenEdition Search

Sarai reindirizzato su OpenEdition Search