The manifestations of cyberculture in theatre: A posthuman reading of Sarah Ruhl’s Dead Man’s Cell Phone | ||||
| Journal of Languages and Translation | ||||
| Volume 11, Issue 2, April 2024, Page 14-30 PDF (338.98 K) | ||||
| Document Type: مقالات بحوث مبتکرة | ||||
| DOI: 10.21608/jltmin.2024.352114 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Shaimaa Elsayed Mohammed Mowafi | ||||
| English Department, ElGazeera Higher Institutes, Cairo, Egypt | ||||
| Abstract | ||||
| Cyberculture in theatre is a fascinating and evolving field of research that explores the intersection of technology and the performing arts. It embodies a multifaceted landscape that has reshaped the way stories are told, performances are delivered, and audiences interact with the stagecraft. In this respect, the present paper intends to examine how digital technology has influenced theatre production, performance, and audience engagement. A posthuman analysis of cyberculture dramaturgies is attempted to delve into the intersection of theatre, technology and the evolving concept of being human in a digital era. Drawing on the posthumanist theoretical approach, which challenges the traditional notions of human identity, agency and embodiment, offers a rich and complex perspective on how technology can transform the theatrical experience as a whole. It can inspire a critical reflection on the role of cyberculture in reshaping the relationship between humans and technology in the theatrical realm. The paper has concluded that the inclusion of cybernetic technologies challenges the boundaries of the traditional stage and encourages the audience to engage in new levels of immersion, which can transform their role in shaping the theatrical narrative and dramatic perception. However, it’s important to acknowledge the challenges as well, including potential technical issues, the risk of over-reliance on technology, and the ethical considerations of audience data privacy and consent, in addition to ensuring that the integration of non-human entities enhances the narrative rather than detracting from it. | ||||
| Keywords | ||||
| cyberculture; posthumanism; theatre; dramaturgy; Sarah Ruhl’s Dead Man’s Cell Phone | ||||
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