1 Note de traduction : Le champ des Performance Studies recouvre à peu près ce que, en français,
on appelle les « études théâtrales ». Les Performance
Studies sont cependant très marquées par l’anthropologie et
cela se reflète dans les approches qui y sont développées depuis une
trentaine d’années.
2 La
performance distribuée est une cyberformance, elle se réalise sur
internet à partir de différents endroits. Voir l’article de Helen
Varley Jamieson, infra.
3 Note de traduction : Est médié
tout ce qui est le produit d’une médiation. Lorsque la médiation se
fait par un dispositif technologique (une caméra, un micro, etc.),
on parle de médiatisation.
4 Richard Schechner,
« What Is Performance Studies Anyway? », in
Jill Lane et Peggy Phelan (dir.), The Ends of
Performance, New York, New York University Press, 1998,
p. 360.
5 [Notre
traduction] « It is a specific event with its liminoid nature
foregrounded […], presented by performers and attended by audiences
both of whom regard the experience as made up of material to be
interpreted, to be reflected upon, to be engaged in – emotionally,
mentally, and perhaps even physically », Marvin Carlson, Performance. A Critical Introduction,
Londres/New York, Routledge, 1996, p. 198-199.
6 [Notre traduction] « a space of illusory
immediacy », Matthew Causey, « The Screen Test of the Double: The
Uncanny Performer in the Space of Technology », Theatre Journal, vol. 51, no 4,
décembre 1999, p. 383.
7 [Notre traduction]
« conceptual a priori mediality of all representational practices »,
Anja Klöck, « Acting on the Media: The Actor’s Modes of Being on
Stage in an Age of Technological Mediation », Performance Research, vol. 10, no 1,
2005, p. 117.
8 [Notre traduction] « may no longer be
defined as a place of nature. Nor can the existence of immediacy
– of an unmediated reality, outside of the theatre – be assumed »,
ibid., p. 119-120.
9 [Notre
traduction] « In performance, the body is metonymic of self, of
character, of voice, of “presence”. But in the plenitude of its
apparent visibility and availability, the performer actually
disappears and represents something else – dance, movement, sound,
character, “art”. », Peggy Phelan, Unmarked. The
Politics of Performance, Londres/New York, Routledge, 1993,
p. 150
10 Philip Auslander, Liveness. Performance in a
Mediatized Culture, Londres/New York, Routledge, 1999,
p. 38-54.
11 [Notre
traduction] « thematic object of experience », Drew Leder, The Absent Body, Chicago, University of
Chicago Press, 1990. p. 1.
12 [Notre traduction]
« always constitutes a nullpoint in the world I inhabit », ibid., p. 13.
13 Maaike Bleeker,
« Dys-Embodiment », Performance Research,
vol. 11, no 3, 2006, p. 50.
14 [Notre traduction] « condition of
un-reality brought about by experiences that point to the
involvement of our bodies in the constitution of the world as we
perceive it », ibid.
15 [Notre
traduction] « the sudden awareness of our bodies, but rather the
awareness of the invisibility or unperceptability of their
involvement », ibid.
16 [Notre traduction]
« Post-biological era », Roy Ascott, Telematic
Embrace. Visionary Theories of Art, Technology, and
Consciousness, Berkeley, University of California Press,
2003, p. 376.
17 [Notre traduction] « the site of
bionic transformation at which we can recreate ourselves and
redefine what it is to be human », ibid.
18 [Notre
traduction] « Even seemingly straightforward relationships between
performer and audience are subverted, and theatrical hierarchies are
unbalanced in that space, sound and (projected) images are as
dominant as the performer, who in some cases is not present at
all », Colin Beardon et Gavin Carver, « New Visions in
Performance », in Colin Beardon et Gavin
Carver (dir.), New Visions in Performance. The
Impact of Digital Technologies, coll. « Innovations in Art
and Design », Rotterdam, Swets & Zeitlinger, 2004,
p. 181.
19 [Notre traduction] « emphasizing
processes of doubling and multiplication », Nick Kaye, « Hardware in
Real Time: Performance and the Place of Video », Contemporary Theatre Review, vol. 15, no 2, 2005, p. 203.
20 [Notre traduction] « “live” and “mediated” spaces », ibid., p. 217
21 [Notre traduction] « digital
double is a mysterious figure », Steve Dixon, « The Digital
Double », in Colin Beardon et Gavin Carver,
New Visions in Performance. The Impact of
Digital Technologies, coll. « Innovations in Art and
Design », Rotterdam, Swets &
Zeitlinger, 2004, p. 28.
22 [Notre
traduction] « the dark doppelgänger representing the ID, the split
consciousness, and the schizophrenic self », ibid.
23 [Notre traduction] « cast a sinister shadow over the digital
double and our fascination with mediatized reflections », ibid., p. 29.
24 [Notre traduction] « technological uncanniness »,
Matthew Causey, loc. cit., p. 386.
25 [Notre traduction] « the
subjetc’s annihilation, its nothingness », ibid., p. 385.
26 [Notre traduction] « the ontological shift from
organic to technological, televisual and digital beingness », ibid., p. 393.
27 [Notre traduction] « destabilise », Colin Beardon et Gavin
Carver, op. cit.,
p. 181.
28 Hans-Thies Lehmann, Postdramatic Theatre, trad. de l’allemand de Karen
Jür-Munby, Londres/New York, Routledge, 2006, 214 p. L’essai a aussi
été traduit en français (Hans-Thies Lehmann, Le
théâtre postdramatique, trad. de l’allemand de
Philippe-Henry Ledru, Paris, L’Arche, 2002, 307 p.), toutefois les
passages repris ici n’existent pas dans la version française du
livre de Lehmann.
29 [Notre traduction] « lures through emptiness », Hans-Thies
Lehmann, Postdramatic Theatre, op. cit.,
p. 171.
30 [Notre traduction] « Theatre is first of all anthropological,
the name for a behaviour […], secondly it is a situation, and only
then, last of all, is it representation. Media images are – in the
first and in the last place – nothing but representation », ibid.
31 [Notre traduction] « reality »,
ibid., p. 172.
32 [Notre
traduction] « unreal », ibid.
33 [Notre traduction]
« inauthentic », ibid.
34 [Notre traduction] « representation », ibid.
35 [Notre traduction] « representability », ibid.
36 [Notre
traduction] « fate is another word for representability », ibid., p. 173.
37 [Notre
traduction] « a perpetual affirmation of ‘fatelessness’ », ibid.
38 [Notre
traduction] « performance is here always understood to take place in
relationship to system-design which often encloses performer and
interface within a physically traversable projected display or
immersive environment », Johannes Birringer, « Performance and
Science », Performing Arts Journal, vol. 29,
no 1, 2007, p. 28.
39 [Notre traduction] « performance is here always understood to
take place in relationship to system-design which often encloses
performer and interface within a physically traversable projected
display or immersive environment », Johannes Birringer,
« Performance and Science », Performing Arts
Journal, vol. 29, no 1, 2007,
p. 28.
40 [Notre traduction] « “emotion” engine », Susan Broadhurst, « The
Jeremiah Project: Interaction, Reaction, and Performance », TDR: The Drama Review, vol. 48, no 4, hiver 2004, p. 50.
41 [Notre traduction] « “likes” visual
stimulus », ibid., p. 50.
42 [Notre traduction] « “happy” », ibid.
43 [Notre traduction] « gets “angry” », ibid.
44 [Notre traduction] « current theory needs to be
adjusted », ibid., p. 48
45 [Notre traduction] « especially in
relation to the problem of (re)presenting the “unrepresentable”,
that is the sublime of the physical/virtual interface », ibid.
46 [Notre traduction] « Jeremiah
is original, just as an improvising artist is original. Jeremiah is
literally “reproduced again” and not “represented” », ibid., p. 51.
47 [Notre traduction] « Power relationship »,
Catherine Pelachaud et Isabella Poggi,
« Subtleties of Facial Expressions in Embodied Agents », Journal of Visualization and Computer
Animation, vol. 13, no 5, 2002,
p. 305.
48 [Notre traduction] « Degree of certainty », ibid.
49 [Notre traduction] « Type of social
encounter », ibid.
50 [Notre
traduction] « belief networks », ibid.,
p. 301.
51 Johannes Strassner et Mario
Langer, « Virtual Humans with Personalized Perceptions and Dynamic
Levels of Knowledge », Computer Animation and
Virtual Worlds, vol. 16, nos 3-4, 2005,
p. 331-342.
52 Philip
Auslander, « Humanoid Boogie: Reflections on Robotic Performance »,
in David Krasner, David Saltz (dir.), Staging Philosophy. Intersections of Theater,
Performance, and Philosophy,
coll. « Theater-Theory/Text/Performance » Ann Arbor, University of
Michigan Press, 2006, p. 87-103.
53 [Notre traduction] « over forty crouching figures draped in
black, which face an open door and pray in numerous languages
representing a multitude of faiths while making the reverential
movements appropriate to prayer », ibid.,
p. 87.
54 Ibid., p. 91.
55 [Notre traduction]
« metaphoric humans », ibid.,
p. 99.
56 [Notre traduction] « Because it is not
necessary that they actually pray (whatever that may mean), only
they to do so, their actions also may be treated as nonmatrixed and
task-based », ibid., p. 95.
57 [Notre
traduction], « technological performance », Jon McKenzie, Perform or Else. From Discipline to
Performance, Londres/New York, Routledge, 2001,
p. 95.
58 CGI ou Computer
Generated Imagery.
59 [Notre traduction] « lacks lack,
and is consequently leading only to the next image », Hans-Thies
Lehmann, Postdramatic Theater, op. cit.,
p. 171.
60 [Notre traduction] « But in
3-D computer animation, as soon as you go into a held pose, the
action dies immediately […] Even the slightest movement will keep
your character alive », John Lasseter, « Tricks to Animating
Characters with a Computer », Siggraph, 1994,
< http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/lasseter_s94.htm#abstract >
(consultation le 10 mai 2011).
61 [Notre traduction] « The artists’ interactions
with tools of the new technology are such that they experience the
actual manifestation of their creative energy and output
incrementally, as lines of code compute or as frames render finally
completed in form. The reward for this delayed gratification is the
performance created from almost nothing – not motion-captured from
live movement, and not the result of an automated, programmed task
list in the computer. », Katerine Sarafian, « Flashing Digital
Animations: Pixar’s Digital Aesthetic », in
John T. Caldwell et Anna Everett (dir.), New
Media. Theories and Practices of Digitextuality,
coll. « AFI Film Readers », Londres/New York, Routledge, 2003,
p. 215.
62 [Notre
traduction] « Human actors study the motivating details of a
character, then they might improvise the acting once they are “in
character”. Computer animation characters, by contrast, are always
in character. They were born in character. Animators need to finesse
certain details and make the acting seem improvised, matter-of-fact,
natural. », ibid.
63 [Notre traduction] « a means of
perception, of vision, and of understanding », Samuel Weber, Theatricality as Medium, New York, Fordham
University Press, 2004, p. 101
64 [Notre
traduction] « what emerges is a reiterative singularity that is no
longer simply taken for granted as the transparent medium of
identification, of recognition, but that becomes identifiable and
recognizable only through the “trembling” of an irreducible
alterity. […] The interruptive gesture calls this precedence into
question, even as it questions the notion of performance and of
performativity, at least as teleogical processes of fulfillment. »,
ibid., p. 117.
65 Walter Benjamin, Essais sur Brecht, trad.
de l’allemand de Philippe Ivernel, Paris, La Fabrique, 2003,
p. 120.
66 [Notre traduction] « There
is a real danger of theoretical imperialism, of certain analytical
modes and philosophical worldviews colonizing, civilizing, and
trivializing digital performance », Steve Dixon, Digital Performance. A History of New Media in Theater, Dance,
Performance Art, and Installation, « Leonardo », Cambridge
(Massachusetts)/Londres, MIT Press, 2007, p. 156.
67 [Notre traduction] « a more specific approach toward a more
specific and rationally considered analysis of the field », ibid.
68 [Notre traduction] « no longer possible to distinguish
meaningfully between the biological organism and the informational
circuits in which the organism is enmeshed », N. Katherine Hayles,
How We Became Posthuman. Virtual Bodies in
Cybernetics, Literature, and Informatics, Chicago,
University of Chicago Press, 1999, p. 35.
69 [Notre traduction] « But the posthuman does not really mean the
end of humanity. It signals instead the end of a certain conception
of the human, a conception that may have applied, at best, to that
fraction of humanity who had the wealth, power and leisure to
conceptualize themselves as autonomous beings exercising their will
through individual agency and choice. », ibid., p. 286.
70 Walter Benjamin,
op. cit., p. 120.
71 [Notre traduction]
« Since the boundary between the world and ourselves consists of
permeable membranes that allow energy and matter to flow in and out,
there can be no definite point at which our bodies begin or end. […]
The notion that each of us is a discrete entity can be called the
“boxed body” fallacy. », Robert Pepperell « The Posthuman Conception
of Consciousness: A 10-Point Guide », in Roy
Ascott (dir.), Art, Technology, Consciousness.
Mind@Large, Bristol, Intellect
Books, 2000, p. 13
72 William Gibson, Neuromancien, trad. de l’anglais de Jean
Bonnefoy, coll. « Fictions », Paris, La Découverte, 1985,
p. 64.
73 [Notre traduction] « Double
consciousness », Roy Ascott, Telematic
Embraces, op. cit., p. 377.
74 [Notre traduction] « The state of being that
gives access, at one and the same time, to two distinctly different
fields of experience: psychic space and cyberspace, the material
world and the virtual, in an artwork and outside of it. » ibid.
75 Douglas Hofstadter, Je suis une boucle
étrange, trad. de l’anglais de Julien Bambaggi, Paris,
Dunod, 2008, passim.
76 Ibid., p. 271.
77 Ibid.
78 [Notre traduction] « emergent », Johannes
Birringer, « Digital Performance », Performance
Research, vol. 11, no 3, 2006,
p. 43.
79 [Notre
traduction] « liquid », ibid.
80 [Notre traduction] « environment can be understood as digital
performance process, as emergent system », ibid., p. 44.
81 [Notre traduction] « condition of
virtuality », N. Katerine Hayles, op. cit.,
p. 14.
82 [Notre traduction] « It is the digital that makes things
certain but the virtual that raises a very productive doubt. […]
That is why I suggest that as we tire of looking at our fingers on
keyboards and on all the other indexes of the digital that surround
us (the hyperlinks, hypertexts and so on), we shall gradually awaken
to the dawn of the virtual in all its sublime horror and all its
beauty. For while the current digital conversion is exhaustive and
reductive and, despite the abstraction, almost always ends in a
re-extension of the known, the virtual is intensive and, though
particular, always alive to something
else. », Andrew Murphie, « The Dusk
of the Digital Is the Dawn of the Virtual », Enculturation vol. 3, no 1, 2000,
< http://www.enculturation.net/3_1/murphie.html >
(consultation le 25 mai 2014).
83 [Notre
traduction] « conventional registers », Susan Melrose, « Bodies
without Bodies », in Susan Broadhurst et
Josephine Machon (dir.), Performance and
Technology. Practices of Virtual Embodiment and
Interactivity, Houndsmills/Basingstoke/Hampshire/New York,
Palgrave Macmillan, 2006, p. 11.
84 [Notre traduction] « Performance writing persists in reproducing the
materially grounded constraints applying to writing, even on-line,
at precisely that moment when a writer thematises the virtual », ibid., p. 11.
85 [Notre traduction]
« digital/posthuman performers », Steve Dixon, Digital Performance, op. cit., p. 155.
86 [Notre traduction] « for cohesion, for meaning, for unity, for
intimate cybernetic connections between the organic and the
technological », ibid.
87 [Notre traduction] « technology’s
most contribution to art is the enhancement and reconfiguration of
an aesthetic creative potential which consists of interacting and
reacting to a physical body, not an abandonment of that body »,
Susan Broadhurst, « The Jeremiah Project: Interaction, Reaction, and
Performance », loc. cit, p. 55.
88 [Notre
traduction] « a concentration of many perspectives, rhythms, voices,
and polyphonic energies », Johannes Birringer, « Performance and
Science », loc. cit.,
p. 35.
89 [Notre traduction] « continuous transfers between
film, dance, music, music and computer-assisted montage », ibid.
90 [Notre traduction] « live
digital art at its best, reviving narrative traditions », ibid.
