221 KB33 KB232 KB34 KB201520252017Butler, AngelaZajec, Urškaštevilka:1letnik:5str. 78-104ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-4GH35R6QenslAkademija za gledališče, radio, film in televizijoDruštvo gledaliških kritikov in teatrologov SlovenijeAmfiteater (Ljubljana)afektaffectdigital culturedigitalna kulturagledališke predstaveIrish theatreirsko gledališčeSodobno irsko gledališče in digitalna kulturna| Contemporary Irish theatre and digital culture| performative reflections of a changing Irish experience| uprizoritveni odrazi spremenljive irske izkušnje|This article will explore the question of how contemporary Irish theatre navigates and responds to digital culture and emergent counter-attention modes. More particularly, how does Irish theatre appeal, interrogate, and exploit the strategies used by new communication technologies in order to appeal to a contemporary Irish theatre audience? I will begin to tease out this enquiry by examining a number of performances programmed as part of the 2015 and 2016 Dublin Theatre Festival, namely Dead Centre's Chekhov's First Play, ANU Productions and CoisCéim's These Rooms, and Michael Keegan-Dolan's Swan Lake/Loch na hEala. These performances engage specifically on the effects of the digital culture shift in Ireland - a shift, I will argue, that has affected the ways contemporary Irish theatre audiences approach and experience certain types of performance. The article focuses on several performances from the Dublin Theatre Festival 2015 and 2016 programmes in order to explore the cultural shift in Ireland towards digital culture and how it has transformed the way contemporary Irish theatre is defined, created and consumed. Looking at specific programming choices for the 2015 and 2016 Dublin Theatre Festival, this article traces the pervasive nature of information-intensive environments in Ireland and links it to the bodily, immersive- and affective performances programmed as part of the FestivalČlanek raziskuje, kako sodobno irsko gledališče premaguje izzive sveta digitalne kulture in nastajajočih tipov protipozornosti ter kako se nanj odziva. Natančneje povedano, obravnava, kako irsko gledališče nagovarja, preizprašuje in izkorišča strategije novih komunikacijskih tehnologij, da bi zadostilo sodobnemu irskemu občinstvu. Za začetek bom analizirala nekaj predstav s programa Dublinskega gledališkega festivala v letih 2015 in 2016, in sicer Prvo dramo Čehova skupine Dead Centre, Te sobe, ki je nastala v sodelovanju skupin ANU Productions in CoisCéim, ter Labodje jezero/Loch na hEala Michaela Keegana-Dolana. Navedene predstave se ukvarjajo z učinki obrata digitalne kulture na Irskem. Pokazala bom, da je ta obrat vplival na to, kako sodobno irsko občinstvo pristopa k določenim vrstam predstav in kako jih doživljaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)