Digital Performance refers to the use of computers as an interface between a creator, consumer of images, and sounds in a wide range of artistic applications.
This can be as simple as making projections on a screen for a live audience or as complex as planning and putting on a show online.
Its research project involved the increase and creative use of computer technology, techniques within live theatre and dance productions and cyberspace interactive dramas and webcasts.
Every single person who uses online networking sites, blogs, chat rooms, MOOs and IRC is creating their own performance with the use of e-friendships.
These new genres are most commonly in the style of audience participatory installation pieces that can take place either on the internet or can be played on a CD – ROM.
Both during the eras of Futurism and the experimentation with computer incorporated within performance, they are both greatly inspired by the development of new and existing technology.
One of the main links that has been found which can connect futurism to digital performance was with the use of the ‘machine’ which was used in the set of Robert Lepage’s Zulu Time (1999).
Although, it can be said that the avant – garde movement Futurism does have a more philosophical basis for contemporary digital performance, more so than any of the other avant – garde movements such as the likes of Bauhaus, Dada and Surrealism which are mainly used to provide inspiration for a large part of the content and styles for the artistic expression.
Theatre pieces which have integrated digital media and computer-generated projections built into performances have a long historical lineage that stretches back to over a hundred years ago to an experiment that was conducted by Loie Fuller.
In the performance, as Fuller danced the robes in which she was wearing became a sort of ‘screen’ where multi – coloured lights were projected upon it.
[1] From 1970 there was a period of time of when theatrical experimentation elevated the visual over the verbal; there was a proliferation in the use of media projections in theatre, dance and performance art, using both screens and video monitors.
With the ease of using these video technologies more and more artists began to play around with the possibilities of integrating visual media within their live performance work.
The use of media technology including the likes of film, video and sound equipment became some of the main characteristics for the experimental theatre, and some of the most noted performance artists of this time were creating work by incorporating video and film footage into their theatre productions.
In live multimedia theatre: the projection screens or video monitor frame additional space, in two dimensions.
[1] Another case of what is under the title of digital performance is dance productions, using software and computer techniques such as advanced animation and motion capturing.
All three of the above are involved with visual aspects such as sets, props, lighting and costume which are all a part of the production to enhance the body/bodies in a space.
With the effects on the ongoing Covid 19 pandemic, artists have been experimenting with online/digital theatre, for example The Coronalogues (2021) featuring works from directors across the world Ken Kwek and Dick Lee.