# 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-18177](https://theconversation.com/the-unofficial-bridgerton-musical-as-tiktok-grammy-winning-sensation-is-the-future-of-musical-theatre-online-181776)[6](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>.  &#x20;

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>.

Institute for Government Analysis (IfG). (2023). *Timeline of UK coronavirus lockdowns, March 2020 to March 2021*. <https://www.instituteforgovernment.org.uk/sites/default/files/timeline-lockdown-web.pdf>.

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>.&#x20;

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/>

Lewis, W. W., & Bartley, S. (2022). Experiential Theatres: An Introduction. In W. W. Lewis & S. Bartley (Eds.), *Experiential theatres: Praxis-based approaches to training 21st century theatre artists* (1st ed., pp. 1-22). Taylor & Francis.

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/>

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