Cyberdrama and digital drama


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Introducing cyberdrama and using digital technologies in drama for creating and sharing drama. Specific focus on school and educational contexts, drawing on MA and PhD p

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Cyberdrama and digital drama

  1. 1. Cyberdrama and digital technologies- Exploring the possibilities Sue Davis 1
  2. 2. What do we love about drama?• We want to recognise and hold on to what is important about our live processes and experiences• And look at how they can be extended upon and complemented as we embrace online communications and digital technologies 2
  3. 3. Why should we go there?• 87% of kids ages 12-17, use the Internet• 57% of teens who use the Internet have created a blog or webpage, posted original artwork, photography, stories or videos online or remixed online content into their own new creations. PEW Internet & American Life Project 3
  4. 4. Today‟s generation of youth have three core needscommunity, self-expression and personalisation, and that these core needs are met through their use ofmedia and technology. Key technology uses revolve around music, the Internet and mobile devices.Yahoo/OMD ‘Truly, Madly, Deeply’ Report 4
  5. 5. Growth in participatory culture and spaces for sharing user-generated content e.g. youtube & myspace Digital content creation key growth area in creative industries 5
  6. 6. Why use cyberspaces?• Encourage participation and collaboration• Build a community of creative practice• Create and build the drama using multiple modes and media• Talk about and reflect on the drama 6
  7. 7. What can these tools and spaces add to the drama experience and learning?• Collaborative possibilities outside of the drama „classroom‟• Creative collaborations online to build drama and content• Potential for creating roles and the world of the drama in a very rich way (profiles, imagery, environment)• Opportunities to communicate and reflect• Build different kinds of skills – multi-media, online communications, interactive processes• Audiences for the work 7
  8. 8. Cyberdrama – Janet Murray 1997 “I have referred to these various new kinds of narrative under the single umbrella term of cyberdrama because the coming digital story form... Like the novel or the movie, will encompass many different formats and styles but will essentially be a single distinctive entity. It will not be an interactive this or that, however much it may draw upon tradition, but a reinvention of storytelling itself for the new digital medium... As a new generation grows up, it will take participatory form for granted and will look for ways to participate in ever more subtle and expressive stories (Murray 1997, 271)”10-Aug-12 - Sue Davis 8
  9. 9. Aspects from my experiences of cyberdrama• participants taking on role• engaged in a fictional world• the potential for interaction• development of a story or narrative• enactment in a digital space• drama unfolds over time, it is not just an image – the notion of tension is related here.• shared experience of the story, with audience and participant being co-present at some point. 9
  10. 10. Elements of cybdrama or Place/spaceinteractive drama „Real‟ World <<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>> Virtual World Time „Real‟ time <<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>> Created Time Characters Predetermined, rehearsed <<<<<<<<<><<<>>>>>>>>>>>>>>>> Improvised, open Embodiment Live/human <<<< Mediated <<<<<<< Re-mediated>>>>>>> Artificial Intelligence Text & lexia Written Text or one kind of lexia<<<<<<>>>>>>> Multi-media/Multi-modal lexia Narrative Flow Closed <<<<<<<<<<<<<<<< Work in movement >>>>>>>>>>>>>>>>>>>>> Open Ergodic Intrigue/Dramatic Tension Dramatic hooks & questions <<<<<<<>>>>> Searching for the pathway to the next lexia or out Text Creation Preconceived/fixed <<<<<<<<<<<<<>>>>>>>>>>>>>>> Improvised/developmental Playwright/Author Function Single author function <<<<<<<<<>>>>>>>> Multiple participant author function Audience Clearly delineated audience <<<<<<>>>>>>> No audience other than participants Audience/Interaction Interaction through viewing only <<<<<>>>>> Interaction which changes the text 10-Aug-12 - Sue Davis 10
  11. 11. Use of Computer-mediated communicationsOut of role In role• Forums • Blogs, wikis,• Blogs & wikis, twitter • chats in role (skype,• Talking to BB collaborate, artists/leaders in waterwheel) chatrooms • Online role play• Documenting process (Upstage, second life,• Planning & Reflecting some gaming sites) 11
  12. 12. Components and content• Character profiles Images & Photo Stories Forums in Video & clips Emails or out of Wiki/blog diary role style entries 12
  13. 13. Key component – building role & narrative 13
  14. 14. Interaction opportunities for participants and users• Laying trails (making offers) and seeing what the participant and user groups respond to (Haseman 2001 and Simons 2001)• Weaving these into the developing drama 14
  15. 15. Blog postings in role – reacting to others - asynchronous 15
  16. 16. Chats in role – real time synchronous 16
  17. 17. Out of role 17
  18. 18. Different kinds of learning that need attention when working with Drama and Digital TechnologiesDrama specific Social - group Multi-media e-learning Reflective literacies practiceRoleplay & Skills audit – Taking photos, Accessing & Modelling journalimprovisation group formation resizing, using Blackboard writingRole development ensuring skills in manipulating or online learning Contribution toMonologue different areas Internet platform CommunicationsSkills of Collaboration vs publication issues ‘In role’ and ‘out spaces on forumsperformance – group File compression of role’ spacesacting for film Group norms and conversion Protocols for Learning about (e.g. ANSN) uploading (jpg communication ideas and format for photos, Copyright in experiences mpeg4, quicktime schools/child or wmv etc for protection video) Using the blog & Posting material the wiki, what’s to the Internet the difference (e.g. Youtube, Ning, etc) 18
  19. 19. Considerations • For participant/creators, provide agency and control through input into role creation, improvisation within frames, performance framed by technology - reduce time spent formally rehearsing, writing, learning lines • Need to build community and audience for Internet based drama (possible convergence with other events/forms of communications) • If there is to be a user group outside of participant/creator group, create ways to enroll them and provide significant reward for effort10-Aug-12 - Sue Davis 19
  20. 20. In educational contexts – restricted internet accesswithin schools – societal expectations about what does on in school as „educative‟ • Concerns about predators approaching young people • Concerns about cyberbullying • Concerns about nature of content young people will post • Concerns about how young people will represent themselves • Expectations invested in the teacher, organiser, moderator role to monitor young people’s interacions • Copyright issues10-Aug-12 - Sue Davis 20
  21. 21. Implications??• Different spaces for different purposes• Protocols for communications• Awareness of CMC consequences (permanence) language and genres• „Real tasks‟ for out of role & in role work• Teacher modelling and interaction in the processes• Use the dramatic or fictional context 21
  22. 22. Questions you need to consider for creating your own drama • What is the hook, question or problem that you want to explore? • What kind of pre-text can you use or create • What kinds of roles can participants create and operate from early on to build their commitment to the drama? Who are the drama leaders and what kinds of roles do they take on? • Who is your audience – how will they find out about the drama, what kind of interactivity will be possible? • How might the characters be embodied and realized? What makes a character interesting? How will this be expressed through text?10-Aug-12 - Sue Davis 22
  23. 23. • What kinds of different characters do we have and what kinds of purpose will they have?• What might be the initial complication or source of tension?• What styles and genre/s will the drama use? Consider traditional dramatic ones such as tragedy, mystery, farce as well as popular cultural genres such as soap opera, mockumentary and television news.• What kinds of dramatic and film conventions can be used for each frame of the drama (these don‟t all need to be planned or finalized when you begin the drama)• How will the drama be shared? Only online or will there be a live performance, presentation or sharing. If there are both live and online components, how will they inter-relate?10-Aug-12 - Sue Davis 23
  24. 24. Examples of projects• Lonely girl 15 – the classic webdrama http://www.lg15.comMy MA & PhD projects• (2005 – pre YouTube) university students using a website with options for posting texts, video and audio content, audience input through forums• The Immortals using Education Queensland Learning Place project room and virtual classroom (including blog and wiki), but also YouTube and Ning social networking site• Noosa Scrubs & Shapeshifters using Ning sites & virtual classrooms 24