Other spectator pages : Aristorle 101: Spectacle, direct.vtheatre.net/spectator ...
PoMo sprectator (viewer, visitor, guest)


SpectActor * Virtual Theatre w/Anatoly *
2008 -- * Prof. Anatoly Antohin Theatre UAF Fairbanks AK 99775 * pomo.vtheatre.net + lul.sellassie.info Africa
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Stage Directing Theory
Directing Theory: pre-text, text and super-text = playscript + spectacle + public

2009 --

Theory of Spectatorship
HamletWeb 2002
Classes: Aesthetics
Directing Showcases
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751
filmplus.org + vtheatre.net
my eGroups
2008 Russian Theatre: fest.theatre.ru + cultu.ru (webcast) * Internet2 Day presentation *


Forms of gaze
Direction of gaze
Angle of view
Apparent proximity
The eye of the camera
The social codes of looking


Utopia Project





Spectator becomes active, he creates the spectacle....

How do we define new audience?

What is "virtual" public?

Could we even use this term, when vTheatre is crossing into the field of Game and Ritual?


New? See 200X Files

theology of the internet *

"The Talmud and the Internet:

(This section includes a brief summary of Jonathan Rosen’s book and Jon D. Leverson’s review.)
Rosen finds the Internet to be similar to the Jewish Talmud both in its mode as the connecting media of a community and in its often-baffling juxtapositions. The Talmud is the conversation of Rabbi’s about the Torah over hundreds of years; the internet allows us to participate in the modern version of the same conversation. Rosen writes of his difficult reconciling ancient order and contemporary chaos, and he finds a method for this in the Talmud. Leverson answers with reasons why such an analogy is not valid. The Talmud and the Internet, he says, both offer tremendous amounts of information in a seemingly chaotic manner, however, the Talmud has a unifying goal: wisdom and the creation of Jewish community. The Internet lacks this unifying goal as well as a moral center. Because of its nature, the internet runs counter to any attempt to control human passions with laws in the interest of community.

The Internet as a Metaphor for God:

(This section elaborates on Henderson, "The Internet as a Metaphor for God?") If the internet is a metaphor for God, then it is because it “resonates with our profound belief that life is not predictable.” The way some people use computers, as helpers and teachers and agents of growth, is in a way similar to a new conception of God. This is God as the passionate partner. This is a sharp departure from old patriarchal conceptions of God on a throne, and for many it is an appealing change. The internet is like God because it makes us aware of other people, and of our interdependence. When this stops happening, the internet is no longer like God. If community (communion) is the goal of God’s work, maybe the Internet is an appropriate metaphor for the Divine. Perhaps this answers Leverson’s challenge that the internet has no moral center: its moral center is simply communication, any and all. However, this metaphor only lasts as long as the internet really helps us get to know other people. The problem is this: we often forget that the internet is entirely the work of other human beings, fellow members of the human family. When we develop a “just me and the data” attitude, (in the terms of Martin Buber) we substitute and “I- it” relationship for what should really be an “I- thou” relationship. One of the main goals of religion should be to promote such “I-thou” relationships rather than dehumanized “I- it” encounters. (Thislethwaite, “Virtual Reality Christianity.” Groothius, “Christian Scholarship and the Philosophical Analysis of Cyberspace Technologies.”)


Cyberspace is rooted in textuality. When cyberspace becomes more and more the dominant community, words become more important. Words and programming code make up the very landscape of cyberspace. When cyberspace becomes reality, words take on the magical status of a force for creation or destruction. (Ranjii. “Building Community Word by Word: Religion in the Virtual World”) As the word is “spoken,” it becomes “reality” on the web. Consider this: “In the beginning was the Word.” God creates by speaking. Christ is the word made flesh. This again attests to the power of human beings on the internet, for good or evil. In an age where humans can use mere words to create, the guiding power and responsibility embodied by religion becomes even more important.

The Presence of God

Mark Edwards in “A Theological Challenge: Virtual Worship" writes about the difference between worship in a physical church and in an online community. He wonders about whether the difference matters to anyone, and whether it matters to God. I am particularly interested in what he says about the sacraments. His point is that if one believes communion (as in most protestant denominations) to be simply a memorial to the work of God and the love of Jesus, it seems believers could celebrate or remember it online. However, if communion is the literal Body of Christ (as in Catholicism), how can it be distributed electronically? “Is virtual water sufficient for baptisms?
Galliot addresses this question in an interesting way. He says, “There are many kinds of Presence, and a slow ascension from the degrees of Presence is part of the mystery of religion. Right now, the community of believers needs a physical Presence for the sacraments. But who knows what the future will bring?” Christ’s presence is transcendent and not virtual. Ministry on the internet, in my mind, affirms God’s actions as not confined to a particular time and space. This idea is also relevant to the internet-as-gnosis idea discussed in the "problems of the internet" page."

Religion IN/AND Cyberspace conference


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Stravinsky -- Russian American Theatre directory
I am old, next March (2004) I will be 55 -- and students ask me how do I know what to do on stage (direct, write), I don't give them the full answer. How could I say -- I simply try to see it, the show, and to stage what I manage to see. No, I can't say (they would do their homework). But, nevertheless, this is how I do it. I am simply the first spectator of the show you will see.

No, I dislike the word "creator" -- what do I create? It's out there for all to see it. If only I could see more! If only I could this book and other books, which are not written yet, which I want to read. No, no, I am not talking about the future! The future is right here, right now -- if you can see it.

[ see Theology Page in The Book of Spectator ] "Spectactor"? Yes, we made up this name during the production of The Three Sisters; it came from the video crew. They were with the cast during the rehearsals (we deliberatly had no storyboard for shooting) -- who are they? Spectators with the cameras? Professional spectators? (This is how I call myself, a dirActor).

Look, I started the files in The Book of Spectator to avoid talking about spectator on Virtual Theatre pages. This page (if I even get back to finish it) is a matter of structure -- when we talk about "Theatre of One," we have to start with you, spectator. Yes, this is the heart of the matter, my friend -- the spectator! The architecture of the new audience!

Not sure that the name "spectator" is right... creator?

I am serious. Dead serious. Even in my classes I teach that drama takes place not on stage or screen, but in the hearts and minds of the public. Spectator? SpectActor? Spectwriter? No, this is not radical enough!

Did you read notes on Foucault in my nonfiction project POV? On the question of authorship -- in our case "spectatorship": full of Bakhtin and other Marxist ideas. Look at what you and I am doing right now -- the Internet. How to define the ownership of the act? Mine, your, MS, Tripod -- who else is involved? Many. This is why dare to call the phenomena of vtheatre as "Theatre of One" -- because too many (all?) are involved. [According to Bakhtin, not the live ones, but the dead too -- and the future ones!]

Oh, Anatoly, are you talking about God again?

Get a copy of Bible and read a couple of pages in the beginning: here we go -- Theatre of One!

from theory and web pages:

"Prokes begins by giving a definition of virtual reality. She points out at once that the term is an oxymoron, since “virtual” refers to potential beings and “reality” to existent beings. According to the definition by Michael Heim, “virtual reality is an event or entity that is real in effect but not in fact.” Heim categorizes virtual reality under seven headings. 1) simulation: The creation of images and sounds that seem real. Simulation is much used in training pilots. 2) Interaction: On a computer there are virtual places like the recycle bin or files. Virtual universities exist on line which students attend in virtual classrooms. 3) Artificiality: Articifial flowers, or jewelry or foods masquerade as the real thing. 4) Immersion: When the person is totally immersed say in a three-dimensional, multi-sound environment. Imax movies of flight at the Smithsonian Air and Space Museum employ this technique. The audience has the sensation of actually flying at the controls of the helicopter. 5) Telepresence: Increasingly used in medicine, a physician can work inside a patient without actually being in the same place as the patient. 6) Full body immersion: This is hard to imagine but a live human body is enabled to interact with graphic images on a screen. 7) Finally networked communication which connects two virtual worlds."
At the Interface: Theology and Virtual Reality book review

Venice Carnival 2002 & Don Juan 2003 Show 12.24.03. Another year is gone. I will never finish this book or the book of spectator...
Next: shows
Maybe I should write in verses, maybe this is the only way to write this book?

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