Abstract
This article provides a diffractive reading of three phenomena to produce meanings: the popular Netflix series Stranger Things (seasons 1-3), promenade theatre company Secret Cinema’s 2019 performance of Stranger Things, and Karen Barad’s 2015 article ‘TransMaterialities: Trans*/matter/realities and queer political imaginings’. The article examines Karen Barad’s notion of touch and touching through the lens of quantum physics and how such instances of touch diffract in both the streamed series and the live show. In the main, the article offers that diffraction allows us to read and interpret ways that live and digital performances differ and mutate together in 21st century performance.
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