As the media have increasingly become the lens through which we see the world, media styles have shaped even the fine arts, and contemporary theatre is particularly indebted to mass media's dramatic influence. In order to stay culturally and financially viable, theatre producers have associated theatrical productions and their promotion with film, television, and the Internet by adopting new theatrical practices that mirror the form and content of mass communication. This work demonstrates how mediatization, or the adoption of the semantics and the contexts of mass media, has changed the way American theatre is produced, performed, and perceived. Early chapters use works like Robert Wilson's 3D digital opera Monsters of Grace and Thecla Schophorst's digitally animated Bodymaps to demonstrate the shifting nature of live performance. Critical analysis of the interaction between the live performer and digital technology demonstrates that the use of media technology has challenged and changed traditional notions of dramatic performance. Subsequent discussion sustains the argument that theatre has reconfigured itself to access the economic and cultural power of the media. Final chapters consider the extent to which mediatization undermines theatrical authorship and creativity.

As the media have increasingly become the lens through which we see the world, media styles have shaped even the fine arts, and contemporary theatre is particularly indebted to mass media's dramatic influence. In order to stay culturally and financially viable, theatre producers have associated theatrical productions and their promotion with film, television, and the Internet by adopting new theatrical practices that mirror the form and content of mass communication. This work demonstrates how mediatization, or the adoption of the semantics and the contexts of mass media, has changed the way American theatre is produced, performed, and perceived. Early chapters use works like Robert Wilson's 3D digital opera Monsters of Grace and Thecla Schophorst's digitally animated Bodymaps to demonstrate the shifting nature of live performance. Critical analysis of the interaction between the live performer and digital technology demonstrates that the use of media technology has challenged and changed traditional notions of dramatic performance. Subsequent discussion sustains the argument that theatre has reconfigured itself to access the economic and cultural power of the media. Final chapters consider the extent to which mediatization undermines theatrical authorship and creativity.