Abstract
The utilization of moving pictures in live performances dates almost from the beginning of the filmic medium itself, but at the end of the twentieth century the rapidly evolving world of digital technology has provided a seemingly almost limitless range of possible interrelationships and interactions between the live body of traditional theatre and performance and the reproduced body of film and digital technology. Just as this work has radically altered (and continues to alter) the concept of the performing body itself, so it has radically altered (and continues to alter) the concept of the space in which that body operates. In the lead essay to the special issue of Theatre Journal devoted to "Theatre and Technology" Johannes Birringer looked to contemporary experimental work in dance, suggesting how the use of technology, especially digital technology, was opening new possibilities for the seeing and the experiencing of this form. "In the 1990s," he proposed, "working digitally and being digital evoke a new futurism of virtual performance possibilities; its new technological catchword is 'interactivity’". Diana Theodores has coined the term "technography" to refer to this major new development in dance, reinforcing the mutually informing new interrelationships of technology and choreography.
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