Constraints and creativity: Transforming a live artistic experience for children into Zoom
DOI:
https://doi.org/10.7577/ar.5837Emneord (Nøkkelord):
virtual performance, COVID-19, pandemic, interactive art, Zoom adaptation, creative strategiesSammendrag
This article explores how the Portuguese ensemble Companhia de Música Teatral (CMT) adapted their live performance PaPI – Opus 8 for Zoom in response to the 2020 COVID-19 pandemic, which severely limited in-person gatherings and artistic events. Originally planned for a nationwide tour, PaPI – Opus 8 faced major challenges due to pandemic restrictions, prompting CMT to rework the piece for an online audience. The result was a transformed version titled PaPI – Opus 8.z, crafted specifically for the Zoom video-conferencing platform. The article gives a detailed examination of this performance piece and its reception, providing a comprehensive understanding of the challenges and achievements associated with the adaptation of this live performance to the virtual realm.
The article explores the transformation process into an online format, examining both the losses and gains incurred. To facilitate this exploration, an introduction to CMT and a contextualization of their work is given. Subsequently, PaPI – Opus 8 is situated within CMT's body of work, including its "sister" pieces, with a particular focus on evaluating the significance of interaction with the audience during the performance. This is followed by an overview of the pandemic-related constraints and the strategies employed by CMT to continue creating performances. To illustrate these strategies, two other CMT creations developed during quarantine are discussed as pivotal steps on the pathway from PaPI – Opus 8 to the transformed online performance PaPI – Opus 8.z.
Cover photo by Companhia de Música Teatral
Referanser
Anderson, D. R., & Pempek, T. A. (2005). Television and Very Young Children. American Behavioral Scientist, 48(5), 505–522. https://doi.org/10.1177/0002764204271506
Boal, A. (1979). Theater of the oppressed. Pluto Press.
Brooks, S. K., & Patel, S. S. (2022). Challenges and opportunities experienced by performing artists during COVID-19 lockdown: Scoping review. Social Sciences & Humanities Open, 6(1), 100297. https://doi.org/10.1016/j.ssaho.2022.100297
Collins-Hughes, L. (2020, July 8) ‘Digital Theater isn’t Theater. It’s a Way to Mourn its Absence, New York Times.
Companhia de Música Teatral. (2019). Mil Pássaros – Mil Pássaros, Mil Lugares. Mil Pássaros. http://milpassaros.com/
Companhia de Música Teatral. (2021a). PaPI. Companhia Música Teatral. https://musicateatral.com/en/constelacao/papi-2/
Companhia de Música Teatral. (2021b, April 29). Opus 8.z. Companhia Música Teatral. https://musicateatral.com/en/opus-8-z-2/
Companhia de Música Teatral. (2024, January 26). About CMT. Companhia de Música Teatral. https://musicateatral.com/en/about/
Countryman, J., Gabriel, M., & Thompson, K. (2016). Children’s spontaneous vocalisations during play: Aesthetic dimensions. Music Education Research, 18(1), 1–19. https://doi.org/10.1080/14613808.2015.1019440
Denzin, N. K. (2009). The elephant in the living room: Or extending the conversation about the politics of evidence. Qualitative Research, 9(2), 139–160. https://doi.org/10.1177/1468794108098034
Dissanayake, E. (2011). Prelinguistic and Preliterate Substrates of Poetic Narrative. Poetics Today, 32(1), 55–79. https://doi.org/10.1215/03335372-1188185
Dissanayake, E. (2017). Ethology, Interpersonal Neurobiology, and Play: Insights into the Evolutionary Origin of the Arts. American Journal of Play, 9(2), 143–168.
Gauhe, G. (2024). Artist’s perspectives and creative methods for online multi-sensory performances during and after COVID-19: A qualitative interview study. International Journal of Performance Arts and Digital Media, 1–25. https://doi.org/10.1080/14794713.2024.2337960
Gordon, E. E. (2003). A music learning theory for newborn and young children (2003 ed). GIA Publications.
Graça, J., Rodrigues, H., & Rodrigues, P. M. (2021). Projecto X: A Journey Inside Ourselves and What We Found When We Arrived. Nordic Journal of Art and Research, 10(2). https://doi.org/10.7577/information.3732
Heile, B. (2006). The music of Mauricio Kagel. Ashgate.
Irwin, R. L. (2013). Becoming a/r/tography. Studies in Art Education, 54(3), 198–215. https://doi.org/10.1080/00393541.2013.11518894
Isherwood, C. (2012, April 20). A Play That Resounds in the Heart and the Gut. The New York Times. https://www.nytimes.com/2012/04/22/theater/readers-respond-to-death-of-a-salesman.html
Karam, K. M., & Naguib, G. M. (2022). The Potentials and Challenges of Zoom Live Theatre during Coronavirus Lockdown: Pandemic Therapy and Corona Chicken (Part Two). New Theatre Quarterly, 38(2), 151–171. https://doi.org/10.1017/S0266464X22000057
Knudsen, J. S. (2008). Children’s Improvised Vocalisations – Learning, Communication and Technology of the Self. Contemporary issues in early Childhood, Special issue: Children and the Arts., 9(4), 287-296. https://doi.org/10.2304/ciec.2008.9.4.287
Loiperdinger, M., & Elzer, B. (2004). Lumiere’s Arrival of the Train: Cinema’s Founding Myth. The Moving Image, 4(1), 89–118. https://doi.org/10.1353/mov.2004.0014
Malloch, S., & Trevarthen, C. (Eds.). (2008). Communicative musicality: Exploring the basis of human companionship. Oxford University Press. https://doi.org/10.1093/oso/9780198566281.001.0001
Ngien, A., & Hogan, B. (2023). The relationship between Zoom use with the camera on and Zoom fatigue: Considering self-monitoring and social interaction anxiety. Information, Communication & Society, 26(10), 2052–2070. https://doi.org/10.1080/1369118X.2022.2065214
Queiroz, A. C. M., Lee, A. Y., Luo, M., Fauville, G., Hancock, J. T., & Bailenson, J. N. (2023). Too tired to connect: Understanding the associations between video-conferencing, social connection and well-being through the lens of Zoom fatigue. Computers in Human Behavior, 149. https://doi.org/10.1016/j.chb.2023.107968
Rajan, R. S. (2016). Front Row Seats: Preparing Young Audiences for Live Performances. Music Educators Journal, 103(1), 49–54. https://doi.org/10.1177/0027432116654947
Rodrigues, H., Miguel, M., Vences, M., Santos, M., & Rodrigues, P. M. (2020). Artistic-educative constellations: Intertwining music education materials with artistic creation and training for educators and artists. In Music education and didactic materials. Grupo de Investigación Stellae : IARTEM. Dialnet. https://dialnet.unirioja.es/servlet/libro?codigo=778491
Rodrigues, H., Rodrigues, P. M., & Rodrigues, P. F. (Eds.). (2016). Ecos de Opus Tutti – Arte para a Infância e Desenvolvimento Social e Humano. Fundação Calouste Gulbenkian. https://cesem.fcsh.unl.pt/publicacao/ecos-de-opus-tutti-arte-para-a-infancia-e-desenvolvimento-social-e-humano/
Singh, P., Bala, H., Dey, B. L., & Filieri, R. (2022). Enforced remote working: The impact of digital platform-induced stress and remote working experience on technology exhaustion and subjective wellbeing. Journal of Business Research, 151, 269–286. https://doi.org/10.1016/j.jbusres.2022.07.002
Smith, L., & Klein, R. (1990). Evidence for Semantic Satiation: Repeating a Category Slows Subsequent Semantic Processing. Journal of Experimental Psychology: Learning, Memory, and Cognition, 16(5), 852–861. https://doi.org/10.1037//0278-7393.16.5.852
Trevarthen, C. (1999). Musicality and the intrinsic motive pulse: Evidence from human psychobiology and infant communication. Musicae Scientiae, 3(1_suppl), 155–215. https://doi.org/10.1177/10298649000030S109
Nedlastinger
Publisert
Hvordan referere
Utgave
Seksjon
Lisens
Opphavsrett 2024 Jorge Graça, Paulo M. Rodrigues, Helena Rodrigues, Jan Sverre Knudsen
Dette verket er lisensiert under Creative Commons Attribution 4.0 International License.
Forfattere som publiserer med dette tidsskriftet må være enige i følgende vilkår:
a) Forfattere beholder opphavsrett, men gir tidsskriftet rett til første publikasjon med arbeidet, samtidig som artikkelen er lisensiert under en Creative Commons Attribution-lisens som tillater andre å dele arbeidet med en anerkjennelse og referanse til forfatterskap og første publikasjon i dette tidsskriftet.
b) Forfattere må ikke inngå separate, ytterligere kontraktsmessige ordninger for eksklusiv distribusjon av artikkelens publiserte versjon av arbeidet (for eksempel legge det til et institusjonelt arkiv eller publisere det i en fagbok), uten referanse en anerkjennelse av hvor artikkelen først ble publisert. Dette gjelder for eksempel artikler som publiseres i Nordisk Barnehageforskning og som senere blir del av et doktorgradsarbeid. Da er det viktig å ha tydelige referanser til hvor og når artikkelen er publisert første gang.
c). Forfattere kan ikke legge inn sine arbeid på nettet eller publisere dem i en doktoravhandling (for eksempel i institusjonelle arkiv eller på en hjemmeside) før eller under innsendings- og fagfellevurderingsprosessen, da dette kan skape uorden i referansesystemet til artikkelen.