1. A drama framework for exploring digital arts cultures 2. This liquid world: intermediality, postnormality, and new opportunities for arts and education 3. Drama and identity in digital arts cultures 4. Digital liveness: Playing with time and space 5. Proto-pedagogy, intermediality, and drama making 6. Games as co-creative dramatic properties 7. The playable archive 8. Coding and creativity 9. The playable city 10. Making research in intermedial spaces 11. The future of making / making the future 12. Conclusion 13. Notes 14. References
Drama and Digital Arts Cultures explores the new forms of playful exploration, co-creativity, and improvised performance made possible by digital social media
David Cameron is deputy director of Academic Technologies in the Centre for Teaching and Learning at the University of Newcastle, Australia. His publications include How Drama Activates Learning: Contemporary Research and Practice (Bloomsbury, 2013) and Drama education with digital technology (Bloomsbury, 2009) both co-edited with M. Anderson. Michael Anderson is Professor of Education at the University of Sydney, Australia. His previous books include: Partnerships in Education Research: Creating Knowledge that Matters (Bloomsbury, 2014), and MasterClass in Drama Education: Transforming Teaching and Learning (Bloomsbury, 2012), and Drama education with digital technology, co-edited with J. Carroll and D. Cameron (Continum, 2009) Rebecca Wotzko teaches in the School of Communication and Creative Industries, Charles Sturt University, Australia.
This has the potential to be a leading book in the field it is
itself participating in defining. What they propose is a
significant and unique contribution to a specific area of
performance studies.... what [it]does and offers goes beyond the by
now 'traditional' notions of what constitutes 'digital performance'
and challenges the established boundaries of 'performance' itself.
* Mark Taylor-Batty, University of Leeds, UK *
This is a well-formulated and very timely proposal, and an ideal volume for the ENGAGE series. The coauthors have centered their attention on a compelling new way to think about the forms and conventions of drama as conventionally constructed in relation to the relatively new digital culture. Their multiple discussions range widely, moving on from elements of applied drama to consider the many ways these have been effectively and efficiently reformulated within learning practices, collaboration, performance art and a sometimes surprising number of other rubrics. What results is highly suggestive of the ways we might think of drama in a series of new contexts. * Enoch Brater, University of Michigan, USA *
This is a compelling topic that is both timely and engaging. My sense is that the intersection of digital methods in education will continue at a rapid progression and the number of relevant programs will continue to expand. This makes the book both timely and likely to be durable in the long run. * Sarah Bay-Cheng, University at Buffalo, SUNY, USA *