https://www.um.edu.mt/library/oar/handle/123456789/100699 2026-04-11T13:15:12Z https://www.um.edu.mt/library/oar/handle/123456789/108146 Title: A study of liveness in online performance Abstract: This dissertation sets out to analyse the ever-increasing digital influence on theatre by discussing the latter in relation to online performance and by comparing the nature of online and live performance. The research problem I will be tackling rests on the question of whether online performance can be considered as containing liveness. I will be taking on this issue by discussing online performance in relation to different elements of performance such as spectatorship, the role of the actor, and the performance space. This will allow me to recognise the difference between the two types of performance, helping me in identifying the impact that online performance has on live performance and vice-versa. My research will be supported by two expert interviews which will help me with my findings. In the end, the aim of my research is to contribute critically to the recognition that digital technology is ever-changing, and thus so are the performance methods and definitions that people had been used to. Description: B.A.(Melit.) 2022-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/100895 Title: Gender identities in contemporary Shakespearean performance Abstract: As Shakespeare is rediscovered with each new generation, new meanings are generated that serve new audiences within a new context. Shakespearean performance has a long history with gender; inherently from its conception with all male casts to the changing of gender identities within the text itself, which is underlined by our constantly evolving understanding of the gender spectrum. While, in his comedies, Shakespeare uses gender and mistaken identities as a plot device, in his tragedies, the text is defined by its gendered language which in turn define character relationships. The emergence of female performers, replacing the boy actors, reveals the resultant lack of older and powerful female characters in Shakespeare’s plays which led to the practice of female performers portraying male characters, later developing into a practice of swapping the written gender of a character from male to female. This change may carry some effects on the plot. Through an analysis of contemporary productions, this dissertation will explore the implications of the transformation of the gender of identities of characters within the plot, the necessity of representation and relevance, the different effects of gender between comedies and tragedies, queer identities in contemporary Shakespearean performance, and the significance of textual history. Description: B.Theatre (Hons)(Melit.) 2022-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/100889 Title: Approaches to virtual reality theatre Abstract: Virtual Reality (VR) theatre is theatrical art in which the spectator is surrounded by virtual visuals. It is a field which has remained underdeveloped, mainly due to costs and a lack of knowledge pertaining to it. This dissertation aims to compile important research which may be useful in developing future VR theatre. This research mainly focuses on the scenographic qualities of the VR space, how they can be applied to create theatricality, and how the resulting combination approaches theatre’s goal of creating engagement. This research sources historical and academic written literature on VR theatre, as well as referencing the practical experiences of the co-creator of Electrick Village, Carly McCann. It also takes information from previous VR works; mainly analysing the Commonwealth’s Shakespeare Company’s HMD VR theatre piece, Hamlet 360: Thy Father’s Spirit. This research shows that use of the immersive theatre format along with 360° visuals is the most effective format to create VR theatre that prompts complete immersion for the spectator. The research also marks a prevalent lack of documentation of contemporary HMD VR works. It highlights the fact that experimentation in the implementation of navigational and interactive possibilities for the audience member is currently lacking in VR theatre, likely due to the programming skills required in implementing them. This indicates a need for more experimentation with these qualities in VR theatre. Future experimentation in VR theatre can be assisted through the examination of the continual development of VR games. Description: B.Theatre (Hons)(Melit.) 2022-01-01T00:00:00Z