How do you understand the concept of virtual movement? What plays or performances might be enhanced by the use of digital kinesthetics to achieve their dramatic effects?
Non-Western bodies can bring different rhythms and organisations of movement into theatre production and reception. This may be overt content and or structured into the formal aesthetics. How do we interpret this without resorting to clichés or racialised over-determination? What expectations do you have of being destabilised by the theatre?
Which of the theories discussed in this chapter would you use to explore a recent performance that you have seen?
Making objects move, whether through human action, animation or puppetry brings another dimension of movement vitality to theatre. How does animation contribute to theatre’s tool-kit as a theatrical effect, but also philosophically to draw attention to the presence of movement itself.
How effective are the uses of movement and its operations on the body to produce political theatre in the productions discussed or in other examples that you know of?
You may think of many ways in which ‘a still act’ might appear, either as a conscious dramaturgical device or choice, or as an unanticipated consequence of the machinery of theatrical representation. Some productions cherish moments of stillness, valuing the ontology of presence, or embrace theatrical illusion to intensify or expand inter-subjectivity. What does a slow movement or stillness in theatre bring to our experience? Think of your own examples of being conscious of time passing or being fully present in theatre.
