Full Bibliography

Aebischer, P. (2020). Shakespeare, spectatorship and the technologies of performance. Cambridge University Press.

Aebischer, Pascale. (2021). Viral Shakespeare: Performance in the Time of Pandemic. Cambridge, United Kingdom: Cambridge University Press.

Arena, F., Collotta, M., Pau, G., & Termine, F. (2022). An overview of augmented reality. Computers, 11(2), 28. https://doi.org/10.3390/computers11020028.

Artaud, A. (2010). The theatre and its double. OneWorld Classics.

Ascott, R. (2003). Telematic embrace: Visionary theories of art, technology, and consciousness. University of California Press.

Aucoin, D. (2022, June 16). With ‘The orchard,’ the Arlekin players return Chekhov to the digital frontier. The Boston Globe. https://www.bostonglobe.com/2022/06/16/arts/with-orchard-arlekin-players-return-chekhov-digital-frontier

The Audience Agency Group. 2020. "Digital Engagement". Evidence & Insights. London. https://www.theaudienceagency.org/evidence/digital.

The Audience Agency Group. 2021. "Digital Hybridity". Evidence & Insights. London: The Audience Agency Group. https://www.theaudienceagency.org/evidence/covid-19-cultural-participation-monitor/digital-hybridity

Augé, M. (2009). Non-places: Introduction to an anthropology of Supermodernity (J. Howe, Trans.). Verso.

Auslander, P. (2002). Liveness: Performance in a mediatized culture (2nd ed.). Routledge.

Ausley, C. (2020, December 15). Seattle company launches holiday dinner theater in a box. Seattle PI. https://www.seattlepi.com/lifestyle/food/article/nordo-launches-holiday-dinner-theater-in-a-box-15803156.php

Australian Bureau of Statistics. (2023, December 13). Working from home remains popular but less than in 2021. ABS. https://www.abs.gov.au/media-centre/media-releases/working-home-remains-popular-less-2021.

Baik, Youngju. 2015. "The Mediality Of Live Cinema Theatre -Katie Mitchell's Stage Constructs-". The Journal Of The Korea Contents Association 15 (11): 27-40. doi:10.5392/jkca.2015.15.11.027.

Barnett, T. (2022). 'Covid-19. In M. Reason, L. Conner, K. Johanson, & B. Walmsley (Eds.), Routledge companion to audiences and the performing arts. Routledge.

Bay-Cheng, Sarah, Jennifer Parker-Starbuck, and David Z Saltz. 2015. Performance And Media: Taxonomies For A Changing Field. University of Michigan.

Bay-Cheng, S. (2022). ‘The Unofficial Bridgerton Musical’ as TikTok Grammy-winning sensation: Is the future of musical theatre online?’; The Conversation, https://theconversation.com/the-unofficial-bridgerton-musical-as-tiktok-grammy-winning-sensation-is-the-future-of-musical-theatre-online-181776

Bay-Cheng, S. (2023). Digital performance and its discontents (or, problems of presence in pandemic performance). Theatre Research International, 48(1), 9-23. https://doi.org/10.1017/s0307883322000372.

Bay-Cheng, S. (2024, September 12). TIFF 2024: For Gen Zs and beyond, cinema is about authentic live experience. The Conversation. https://theconversation.com/tiff-2024-for-gen-zs-and-beyond-cinema-is-about-authentic-live-experience-238932

Benford, Steve, and Gabriella Giannachi. 2011. Performing Mixed Reality. Cambridge, Mass.: MIT Press.

Bennett, Naomi P. ‘Telematic connections: sensing, feeling, being in space together’, p. 250. September 2020; International Journal of Performance Arts and Digital Media 16(3):245-268; DOI:10.1080/14794713.2020.1827531.

Bennett, S. (1990). Theatre audiences: A theory of production and reception (2nd ed.). Routledge.

Blake, Bill, and Matt Adams. 2014. Theatre & The Digital. London: Red Globe Press.

Blanco Jessen, Constanza. (2021). “Performative game or theatre gamification? What a gameformance is and why interactive theatre should be interested in it.” Autonomous University of Barcelona, 46. 2021.

Boal, Augusto. (2008). ‘Preface to the 2008 Edition’. Theatre of the Oppressed. 2008. Pluto Classics.

Boddington, G. (2012). Woven Bodies, Woven Cultures. In S. Broadhurst & J. Machon (Eds.), Identity, performance and technology: Practices of empowerment, embodiment and Technicity (Location 1472-1491). Palgrave Macmillan.

Boffone, Trevor. (2022). ‘Theatre is TikTok, TikTok is Theatre’, Theatre History Studies 41, 41-48. https://doi.org/10.1353/ths.2022.0028.

Bolter, Jay David, and Richard Grusin. 2003. Remediation. Cambridge, Mass: MIT Press.

Borgstrom, T., Haritan, E., Wilson, R., Abada, D., Dauman, A., Chandra, R., Mielo, O., Cruse, C., & Nohl, A. (2009). System prototypes. Proceedings of the 46th Annual Design Automation Conference. https://doi.org/10.1145/1629911.1629913.

Bowler, H. (2022, January 17). How the metaverse is blurring the lines between TV, theater and gaming. The Drum. https://www.thedrum.com/news/2022/01/17/how-the-metaverse-blurring-the-lines-between-tv-theater-and-gaming

Briscoe, R. (2021, January 29). Convenience culture and exclusive events. Fast Familiar Workroom. https://workroom.fastfamiliar.com/convenience-culture-and-exclusive-events/.

Broadhurst, Susan. 2002. ‘Blue Bloodshot Flowers: interaction, reaction and performance,’ Digital Creativity, 13:3, 157-163, DOI: 10.1076/digc.13.3.157.7340.

Burgess, J., & Green, J. (2009). YouTube: Online video and participatory culture. John Wiley & Sons.

Burns, E. (1973). Theatricality: A study of convention in the theatre and in social life. Harper Torchbooks.

Burton, D. (2024, May 1). Actors lose out in self-taped auditions. ArtsHub Australia. https://www.artshub.com.au/news/features/actors-lose-out-in-self-taped-auditions-2719946/.

Bye, Kent. (2021). ‘#1015: Blending Immersive Theater with Social VR & VRChat Worldbuilding with “Welcome to Respite”’; Voices of VR; https://voicesofvr.com/1015-blending-immersive-theater-with-social-vr-vrchat-worldbuilding-with-welcome-to-respite/

Cameron, D., & Carroll, J. (2011). Encoding Liveness: Performance and Real-Time Rendering in Machinima. In H. Lowood & M. Nitsche (Eds.), The Machinima reader. MIT Press.

“Carrying on – Online?” (2021). Stage Whispers Performing Arts Magazine. https://www.stagewhispers.com.au/news/carrying-online.

Cascone, K. (2000). “The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music.” Computer Music Journal; 24 (4): 12–18. doi: https://doi.org/10.1162/014892600559489.

Causey, M. (2007). Theatre and performance in digital culture: From simulation to Embeddedness. Routledge.

Chalk, K. (2022, February 23). Virtual reality: The future of theatre? Epigram. https://epigram.org.uk/virtual-reality-the-future-of-theatre/.

Chan-Olmsted, S., & Wang, R. (2020). “Understanding podcast users: Consumption motives and behaviors.” New Media & Society, 24(3), 684-704. https://doi.org/10.1177/1461444820963776.

Chandler, D. (2007). Introduction. In Semiotics: The basics (2nd ed., pp. 1-2). Routledge.

Chapple, F., & Kattenbelt, C. (2006). Intermediality in theatre and performance. Rodopi.

Chemers, Michael Mark. Ghost Light: An Introductory Handbook for Dramaturgy, Southern Illinois University Press, 2010. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/flinders/detail.action?docID=1354461.

Chen, L. (2022). ‘Curtains, music and stages’ in Zoom theatre: framing devices in Coney’s Telephone. International Journal of Performance Arts and Digital Media, 19(1), 27–39. https://doi.org/10.1080/14794713.2022.2162273.

Clapp, S. (2020, June 21). The future of the arts: ‘Online theatre is a skeleton of the thing itself’. The Guardian. https://www.theguardian.com/stage/2020/jun/21/the-future-of-the-arts-online-theatre-is-a-skeleton-of-the-thing-itself

Coates, J. (2024, November 29). Thursday 28th November 2024: the 76th etude. etude, (76). https://substack.com/home/post/p-152289874

Cramer, F. (2014). What is ‘post-digital’? A Peer-Reviewed Journal About, 3(1), 10-24. https://doi.org/10.7146/aprja.v3i1.116068.

Creation Theatre. (2022). ‘DIGITAL THEATRE: A ROUTE TO SUSTAINABILITY’; https://creationtheatre.co.uk/wp-content/uploads/2022/01/Digital-Theatre-a-route-to-sustainability.pdf

Creative Australia. (2023). “The Digital Front Row: Understanding online and digital theatre audiences.” https://creative.gov.au/wp-content/uploads/2023/12/Understanding-Online-and-Digital-Theatre-Audiences-Report_FA_Tagged.pdf

Creeber, G. (2011). It’s not TV, it’s online drama: The return of the intimate screen. International Journal of Cultural Studies, 14(6), 591-606. https://doi.org/10.1177/1367877911402589.

Crossley, Mark. 2019. Intermedial Theatre: Principles & Practice: Principles And Practice. London: Palgrave.

“Collage.” Tate Modern. https://www.tate.org.uk/art/art-terms/c/collage.

Courtois, C., & D'heer, E. (2012). Second screen applications and tablet users. Proceedings of the 10th European Conference on Interactive TV and Video. https://doi.org/10.1145/2325616.2325646.

Cullwell-Block, L. (2024, September 17). McNeal—and Robert Downey Jr.'s 'Metahuman digital likeness'—Want to talk about A.I. Playbill. https://playbill.com/article/mcneal-and-robert-downey-jr-s-metahuman-digital-likeness-want-to-talk-about-a-i

Davenport, G., Agamanolis, S., Barry, B., Bradley, B., & Brooks, K. (2000). Synergistic storyscapes and constructionist cinematic sharing. IBM Systems Journal, 39(3.4), 456-469. https://doi.org/10.1147/sj.393.0456.

Dickson, A. (2022, January 21). Augmented Reality Theater Takes a Bow. In Your Kitchen. The New York Times. https://www.nytimes.com/2022/01/21/theater/national-theater-immersive-storytelling-studio-all-kinds-of-limbo.html

Dixon, S. (2007). Digital performance: A history of new media in theater, dance, performance art, and installation. MIT Press.

Dixon, S., & Sermon, P. (2024). Breaking the fifth wall: Creating theatre on a telepresence stage. In P. Aebischer & R. Nicholas (Eds.), Adaptation and resilience in the performing arts: The pandemic and beyond (1st ed., pp. 65-89). Manchester University Press. https://www.manchesterhive.com/display/9781526172426/9781526172426.00002.xml.

Dunbar, Z. (2016). “Stanislavski’s system in musical theatre actor training: anomalies of acting song.” Stanislavski Studies, 4(1), 64. https://doi.org/10.1080/20567790.2016.1155366.

Eckersall, P., Grehan, H., & Scheer, E. (2017). New media dramaturgy: Performance, media and new-materialism. Springer.

Ensslin, A. (2023). Literary gaming. MIT Press.

Edmonson, C. R. (2023). “Contemporary Immersive Theater: The Cult of Ritual Drinking in Sleep No More and The Illuminati Ball.” In America under the influence: Drinking, culture, and immersive performance (1st ed., p. 129). Routledge.

Endmann, A. & Keßner, D. (2016). User Journey Mapping – A Method in User Experience Design. i-com, 15(1), 105-110. https://doi.org/10.1515/icom-2016-0010.

Esslin, Martin. (1980). “The Mind as a Stage-Radio Drama.” Book-Mediations, Edition1st Edition, Imprint Routledge, eBook ISBN9781003318361.

Fensham, R. (2009). To watch theatre: Essays on genre and corporeality. Peter Lang.

Fewster, Russell & Wood, Denise & Chafer, Joff. (2010). Staging Second Life in Real and Virtual Spaces. Teaching through Multi-User Virtual Environments (pp.217-235). 10.4018/978-1-61692-822-3.ch013.

Freshwater, H. (2017). Theatre and audience. Bloomsbury Publishing.

Friedewald, M., & Raabe, O. (2011). “Ubiquitous computing: An overview of technology impacts.” Telematics and Informatics, 28(2), 55-65. https://doi.org/10.1016/j.tele.2010.09.001.

Fisher, L. (2022). Designing an Interactive Production: A Practical Walkthrough. In W. W. Lewis & S. Bartley (Eds.), Experiential theatres: Praxis-based approaches to training 21st century theatre artists (1st ed., pp. 244-250). Taylor & Francis.

Fisher, M. (2022). The Chaos Machine: The Inside Story of How Social Media Rewired Our Minds and Our World (1st ed.). Little, Brown.

Fisher, Marc and Taylor Telford. (2022). ‘Is the pandemic over? Pre-covid activities Americans are (and are not) resuming’. The Washington Post. https://www.washingtonpost.com/business/2022/09/24/is-the-pandemic-over/.

Frissen, V., Lammes, S., de Lange, M., de Mul, J., & Raessens, J. (2015). “Homo ludens 2.0: Play, media, and identity.” In V. Frissen, S. Lammes, M. de Lange, J. de Mul, & J. Raessens (Eds.), Playful Identities: The Ludification of Digital Media Cultures (pp. 9–50). Amsterdam University Press. http://www.jstor.org/stable/j.ctt14brqd4.3.

Fuchs, Barbara. Theater of Lockdown: Digital and Distanced Performance in a Time of Pandemic. London: Methuean Drama, 2021.

Gekker, A. (2018). “Let’s not play: Interpassivity as resistance in ‘Let’s Play’ videos.” Journal of Gaming and Virtual Worlds, 10(3), 219-242. https://doi.org/10.1386/jgvw.10.3.219_1.

Georgi, C. (2014). Liveness on stage: Intermedial challenges in contemporary British theatre and performance. Walter de Gruyter GmbH & Co KG.

Giannachi, G., Rowland, D., Benford, S., Foster, J., Adams, M., & Chamberlain, A. (2010). Blast Theory's Rider Spoke, its documentation and the making of its replay archive. Contemporary Theatre Review, 20(3), 353-367. https://doi.org/10.1080/10486801.2010.489047.

Giesekam, G. (2018). Staging the screen: The use of film and video in theatre. Bloomsbury Publishing.

Gonzalez, A. (2021). Quarantine Rebellions: Performance Innovation in the Pandemic. In K. A. Hass (Ed.), Being human during COVID. University of Michigan Press.

Gropius, W., & Wensinger, A. S. (1971). The theater of the Bauhaus. Wesleyan University Press.

Grotowski, Jerzy, Eugenio Barba, and Peter Brook. 1991. Towards A Poor Theatre. London: Methuen.

Grygiel & Brown, ‘Are social media companies motivated to be good corporate citizens? Examination of the connection between corporate social responsibility and social media safety’, Telecommunications Policy, p. 446. https://doi.org/10.1016/j.telpol.2018.12.003.

Hancock, Philip and Tyler, Melissa. ‘Performing During/After Lockdown: A Study of the Impact of COVID-19 on Live Performers in the UK’. University of Essex. 2022.

Hawkins, H. (2024, December 8). Grand theft Hamlet review - intriguing documentary about Shakespeare as multi-player shooter game. The Arts Desk. https://theartsdesk.com/film/grand-theft-hamlet-review-intriguing-documentary-about-shakespeare-multi-player-shooter-game

Hayles, N. K. (2007). Hyper and deep attention: The generational divide in cognitive modes. Profession, 2007(1), 187. https://doi.org/10.1632/prof.2007.2007.1.187.

Henderson, G. (2023, January 27). Has the pandemic changed auditions forever? Dance Magazine. https://www.dancemagazine.com/has-the-pandemic-changed-auditions-forever/.

Herrera, B. E. (2023, July 11). How do you sustain the Theatregoing habit? (It’s complicated…). #TheatreClique from Brian Eugenio Herrera | Substack. https://brianeugenioherrera.substack.com/p/how-do-you-sustain-the-theatregoing.

Highfield, Tim & Harrington, Stephen & Bruns, Axel. (2013). Twitter as a technology for audiencing and fandom. Information. 16. DOI: 10.1080/1369118X.2012.756053.

Home-Cook, G. (2015). Theatre and aural attention: Stretching ourselves (1st ed.). Springer.

Hunter, L. B., & Luber, S. (2022). A Postdigital Response: User Experience Design, Interactive, Immersive, and Mixed Reality Performance. In W. W. Lewis & S. Bartley (Eds.), Experiential theatres: Praxis-based approaches to training 21st century theatre artists. Taylor & Francis.

Hunter, E. B. (2022). Social VR and the continuing reinvention of local in theatre and performance. International Journal of Performance Arts and Digital Media, 19(1), 83–97. https://doi.org/10.1080/14794713.2022.2152952.

Hunter, L.B. (2019). “We Are Not Making a Movie”: Constituting Theatre in Live Broadcast. Theatre Topics, 29(1), 15-27. https://doi.org/10.1353/tt.2019.0002.

Hussin, A. A., & Bianus, A. B. (2022). HYBRID THEATRE: PERFORMING TECHNIQUES IN THE EFFORTS TO PRESERVE THE ART OF THEATRE PERFORMANCE POST COVID19. International Journal of Heritage, Art and Multimedia (IJHAM), 5(16), 15.

Ilter, Seda. Mediatized Dramaturgy: The Evolution of Plays in the Media Age, Bloomsbury Publishing Plc, 2021. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/flinders/detail.action?docID=6639946.

Interaction Design Foundation - IxDF. (2016, June 2). What is user interface (UI) design? — updated 2023. The Interaction Design Foundation. https://www.interaction-design.org/literature/topics/ui-design.

Interaction Design Foundation - IxDF. (2022, January 24). “What is Extended Reality (XR)?” Interaction Design Foundation - IxDF. https://www.interaction-design.org/literature/topics/extended-reality-xr.

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Jacobs, Naomi. 2018. "Live Streaming as Participation: A Case Study of Conflict in the Digital/Physical Spaces of Supernatural Conventions." In "The Future of Fandom," special 10th anniversary issue, Transformative Works and Cultures, no. 28. https://doi.org/10.3983/twc.2018.1393.

Jaehnig, Jon. (2023). "Exploring the World of Live XR Theater: XR theater explained by the artists that make it". https://arpost.co/2023/08/09/exploring-the-world-of-live-xr-theater.

Jamieson, H. V. (2008). Adventures in Cyberformance: experiments at the interface of theatre and the internet [Master's thesis]. https://eprints.qut.edu.au/28544/1/Helen_Jamieson_Thesis.pdf.

Jandrić, P. (2021). Postdigital Humans: Taking Evolution in Our Own Hands. In M. Savin-Baden (Ed.), Postdigital humans: Transitions, transformations and transcendence. Springer Nature.

Johnson, Laura. (2022). “The Show Must Go On: Theater During a Pandemic.” The Blue Banner, The Student Voice of UNC Asheville. https://thebluebanner.net/12926/arts-features/the-show-must-go-on-theater-during-a-pandmic.

Johnson, R. (2007). “TRICKS, TRAPS AND TRANSFORMATIONS: Illusion in Victorian spectacular theatre.” Early Popular Visual Culture, 5(2), 151–165. https://doi.org/10.1080/17460650701433673.

Jones, L. (2018). Haptics (1st ed.). MIT Press.

Judge, A. (2023, January 25). All the (open) world’s a stage: How the video game fallout became a backdrop for live Shakespeare shows. The Guardian. https://www.theguardian.com/culture/2023/jan/25/the-open-worlds-a-stage-how-the-video-game-fallout-became-a-backdrop-for-live-shakespeare-shows

Judkis, M. (2011). ‘Theater “tweet seats”: Good idea, or bad etiquette?’ The Washington Post. https://www.washingtonpost.com/blogs/arts-post/post/theater-tweet-seats-good-idea-or-bad-etiquette/2011/12/05/gIQAODTcWO_blog.html

Kaye, N., & Giannachi, G. (2017). Performing Presence: Between the live and the simulated. Manchester University Press.

Kelly, J. (2017). In the ‘Perpetual Now’: Split-Screens, Simultaneity and Seriality. In: Time, Technology and Narrative Form in Contemporary US Television Drama. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-63118-9_4.

Kennedy, M. (2010, April 12). Romeo and Juliet get Twitter treatment. The Guardian. https://www.theguardian.com/culture/2010/apr/12/shakespeare-twitter-such-tweet-sorrow.

Kershaw, B. (2001). Oh for unruly audiences! Or, patterns of participation in twentieth-century theatre. Modern Drama, 44(2), 133-154. https://doi.org/10.1353/mdr.2001.0029.

Klich, R., & Scheer, E. (2011). Multimedia performance. Bloomsbury Publishing.

Kirby, M. (1966). The uses of film in the new theatre. The Tulane Drama Review, 11(1), 49-61. https://doi.org/10.2307/1125264.

Kivel, K. (2023, November 21). Fallout 76's wasteland theatre company director talks coriolanus, adaption, community, and more. Game Rant. https://gamerant.com/fallout-76-wasteland-theatre-company-coriolanus-interview/.

Kreizenbeck, Alan. (1991) “The Radio Division of the Federal Theatre Project.” New England Theatre Journal; Boston, Mass. Vol. 2: 27-37.

Kokonis, M. (2014). “Intermediality between games and fiction: The “Ludology vs. Narratology” debate in computer game studies: A response to gonzalo Frasca.” Acta Universitatis Sapientiae, Film and Media Studies, 9(1), 171-188. https://doi.org/10.1515/ausfm-2015-0009.

Lancaster, A. (2004). Paper Prototyping: The fast and easy way to design and refine user interfaces. IEEE Transactions on Professional Communication, 47(4), 335-336. https://doi.org/10.1109/tpc.2004.837973.

Lane, Richard & Murphy, Lynne. “The golden age of Australian radio drama 1923-1960: a history through biography.” National Film and Sound Archive (Australia) 1994-2000; Carlton South, Vic.: Melbourne University Press.

Lanier, Jaron. 2011. You Are Not A Gadget. New York: Vintage Books.

Lanier, Jaron. (2017). Dawn of the new everything: A journey through virtual reality. Random House.

Laurel, Brenda. 1993. Computers As Theatre. Massachusetts: Addison-Wesley Publishing Company.

Lee, Lik-Hang; Lin, Zijun; Hu, Rui; Gong, Zhengya; Kumar, Abhishek; Li, Tangyao; Li, Sijia; Hui, Pan. ‘When Creators Meet the Metaverse: A Survey on Computational Arts’, p. 15-16. 2021; https://doi.org/10.48550/arXiv.2111.13486.

Lech, Kasia. (2023). “Digital Theatre Across Europe: Interview with Dr. Katie Hawthorne”. The Theatre Times, https://thetheatretimes.com/digital-theatre-across-europe-interview-with-dr-katie-hawthorne/

Lehmann, Hans-Thies. 2006. Postdramatic Theatre. Abingdon, England: Routledge.

Lei, Celina. “Celebrating the Digital Pivots of 2021.” ArtsHub Australia, December 22, 2021. https://www.artshub.com.au/news/features/celebrating-the-digital-pivots-of-2021-2520758/.

Lei, C. (2022, October 20). Is tech changing the legacy of theatremakers? ArtsHub Australia. https://www.artshub.com.au/news/career-advice/is-tech-changing-the-legacy-of-theatremakers-2583905/

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Lewis, W. W., & Pye, V. (2022). Frameworks for Making and Performing in Experiential Performance. In W. W. Lewis & S. Bartley (Eds.), Experiential theatres: Praxis-based approaches to training 21st century theatre artists. Taylor & Francis.

Liedke, Heidi Lucia and Seaton, Z. “Hijacking the Familiar: The Work of Big Telly Theatre Company.” Theatre Research International. 2023;48(1):100-104. doi:10.1017/S0307883322000438.

Liroff, M. (2021, April 21). 1 Year in, Here’s How the Coronavirus Has Changed Casting for Good. Backstage.com. https://www.backstage.com/magazine/article/how-covid-19-changed-audition-process-for-actors-73053/

Liu, Y. (2023). Perspective chapter: A new space of storytelling. Business, Management and Economics. https://doi.org/10.5772/intechopen.110286.

London, T., Pesner, B., & Voss, Z. G. (2009). Outrageous fortune: The life and times of the new American play. Theatre Development Fund.

Lupton, D. (2016). The Quantified Self. John Wiley & Sons.

Mackey, A. (2022). Designing Play. In W. W. Lewis & S. Bartley (Eds.), Experiential theatres: Praxis-based approaches to training 21st century theatre artists. Taylor & Francis.

Madi. (2020, November 15). Zoom theater: How the arts went online. Harvard College. https://college.harvard.edu/student-life/student-stories/zoom-theater-how-arts-went-online.

Mandell, J. (2023, January 19). 8 things to understand about digital theater now, according to Jared Mezzocchi. New York Theater. https://newyorktheater.me/2023/01/19/8-ways-to-think-about-digital-theater-now-according-to-jared-mezzocchi

Mandell, J. (2023, November 17). Jaja’s African hair braiding: The perks and pitfalls of seeing it on Broadway live via your computer. New York Theater. https://newyorktheater.me/2023/11/17/jajas-african-hair-braiding-the-perks-and-pitfalls-of-seeing-it-on-broadway-live-via-your-computer/

Manovich, L. (2002). The language of new media. MIT Press.

Margaryan, Anoush, Allison Littlejohn, Gabrielle Vojt. (2011). ‘Are digital natives a myth or reality? University students’ use of digital technologies’. Computers & Education, Volume 56, Issue 2, 2011, Pages 429-440, https://doi.org/10.1016/j.compedu.2010.09.004.

Martin, J. D. (2024, August 27). Gods, Tigers, and Avatars: What Puppeteering Can Teach Us About Creating Great VR Experiences. Medium. https://medium.com/@jondavidmartin/gods-tigers-and-avatars-what-puppeteering-can-teach-us-about-creating-great-vr-experiences

Masek, L., & Stenros, J. (2021). The meaning of playfulness: A review of the contemporary definitions of the concept across disciplines. Eludamos: Journal for Computer Game Culture, 12(1), 13-37. https://doi.org/10.7557/23.6361.

Masso, Giverny. (2022). ‘Keep Online Auditions Post-Pandemic, Actors Urge’. The Stage. https://www.thestage.co.uk/news/keep-online-auditions-post-pandemic-actors-urge.

Masura, N. (2020). Digital theatre: The making and meaning of live mediated performance, US & UK 1990-2020. Springer Nature.

McAuley, G. (1999). Space in performance: Making meaning in the theatre. University of Michigan Press.

McNulty, Charles. 2021. "Commentary: How To Define Theater In The Digital Era? I’ll Know It When I See It". The Los Angeles Times. https://www.latimes.com/entertainment-arts/story/2021-01-25/future-theater-covid-digital-streaming

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