Abstract
This essay investigates three different uses of visual technology (integration, differential and simulation) in three North-American productions: the solo Elseneur (1997) by Robert Lepage, Hamlet (2006) by The Wooster Group and Les Aveugles (2002) by Denis Marleau. It demonstrates how, in these cases, the use of visual technology stimulates the spectator’s imagination, moving its perception and reinventing theatrical dynamism.
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