The dissertation 'Construction of Hybrid Realities as a non-linear, performative strategy for staging' describes a contemporary performing form of expression besides theatre, film and 'Cultural Performances'. The main focus of the analysis lies on the intersection of 'staged virtuality' and 'practiced reality' (liveness), called 'Hybrid Reality'.
 
 
The dissertation is subject to following structure:
 
 
Definition
What means 'Construction of Hybrid Realities', and which artistic expressions belong to this field?
 
 
Historic development
First attempts of these forms of performing can be found in Dadaism, Cabaret Voltaire and Surrealism, as well as in the 'Epic Theatre' of Bertolt Brecht and Erwin Piscator (Germany) around 1920. Other roots lie in the works of the 'Viennese Actionists' and of the protagonists of 'Fluxus' and 'Happening' in the field of fine arts in the 1960s.
 
The time when artists had an economic 'usable access' to 'electronic-technical media', as explained below, can be seen as the essential origin of the artistic methodology, which is described here. 'Usable access' means the possibility to work with these media in the artistic field despite little means of production.
 
 
Project analysis
In the main part of the dissertation Rainer Prohaska analyzes art projects, which range in the field of 'Construction of Hybrid Realities'. To narrow this wide range of projects and to keep it more manageable, the studies focus on works from the German-speaking world between the years 2000 and 2006, including also art projects of Rainer Prohaska himself.
 
The selected projects will be analyzed under the following focuses:
 
a] In the field of performing arts:
Differences and similarities of the 'Construction of Hybrid Realities as a non-linear, performative strategy for staging' and following performing arts-groups:
 
- Classical and progressive forms of theatre.
- Strategies of staging and production of films.
- Performances in the field of fine arts.
- 'Cultural Performances' as described by Erika Fischer-Lichte.
 
b] Methodology of staging:
On the basis of the selected works, artistic methods of production, which concern the 'virtual' as well as the 'real' space, will be analyzed. Which effects do these have on the form, the aesthetics and the development processes of 'staged spaces'?
 
c] 'Electronic-technical media' as a possibility for staging:
Another main focus within the analyzed art projects lies on the expanded performance possibilities by the use of 'electronic-technical media' for the 'Construction of Hybrid Realities'.
 
'Electronic-technical media' means following production tools:
'Internet- and mobile network-based digital communication'
'Display, presentation and blogging in the internet'
'Participatory and networked database systems'
'Local or networked digital simulations'
'Digital sound-, video- and DVD-productions'
'Digital Games'
'Large scale projections'
 
How did the possibilities to realize such productions and to make them accessible to the public, expand by the use of 'electronic-technical media'?
 
Here the influence of these tools is analyzed in the detail. Additionally Rainer Prohaska tries to proof that the access to 'electronic-technical media' was essential to make this kind of art productions, as they arose in the end of the 20th century, possible.
 
d] Communication guerilla
The role of interventions, communication guerilla and 'Digital Actionism' in these artistic production methods.
 
 
Responsibility for production
At the end of the analysis of art projects remain following questions:
In fact, does here a third column in the field of performing arts arise, besides the columns of 'film' and 'classical theatre'?
 
Who is responsible for that kind of production?
 
a] Reorientation and extension of performing arts:
Can the 'Construction of Hybrid Realities' be a possibility for the reorientation and extension of the performing arts-idea?
 
b] Institutionalization:
Which impact do these methods have on production-decisions of established institutions in the field of performing arts and do they have a production-responsibility?
 

 
Supported by:
MA7