@article{336d5ba7-e187-4112-a1dc-31a75a9e88cd,
author = {Sandra  Kmieciak},
title = {Cyberprzestrzeń – cyberobecność – cyberteatr},
journal = {Przegląd Kulturoznawczy},
volume = {2011},
number = {Numer 1 (9)},
year = {2011},
issn = {1895-975X},
pages = {107-119},keywords = {cyberspace; cyberpresence; cybertheatre},
abstract = {Cyberspace – Cyberpresence – Cybertheatre
	In antiquity Zeus descending ex machina on the scene, caused the performance to became more spectacular and affecting. In the Middle Ages the same task was fulfilled by fire blazing gates of hell, in the Romanticism – dioramas and now LCD screens, video cameras, microports and devices which transform sound, projectors or the Internet. If theater does not want to become a fossilized and archaic art, it had to creatively respond to changes in the modern world, otherwise the theatres could be converted into museums. But each time when theater connects with new medium, the question returns: what is theatre or where are theatre’s boundaries? How far can the creator go so his work is still associated with the theatre and not the TV/video/Internet? The topic of the article is the problem that arises for con- temporary theatre’s specialists when moving play into the Internet. Although the projectors, computers, screens, television and cameras open up theatre to the new possibilities, they permit to break the current time-space constraints, they make cause a lot of theoretical problems too. First, when scientists have to call these phenomena. In the following examples I show, that new media reasonably incorporated into the performance don’t cause damage, on the contrary – they make it more absorbing, enriching its senses and the presentation becomes more interesting visually.},
doi = {10.4467/20843860PK.11.010.0231},
url = {https://ejournals.eu/czasopismo/przeglad-kulturoznawczy/artykul/cyberprzestrzen-cyberobecnosc-cyberteatr}
}