Three basic arguments comprise the contemporary theory of subject construction in mediatized culture and help shape the aesthetic gestures of contemporary performance:
Disputing the argument of Phelan and amending Auslander's I suggest that the ontology of performance (liveness), which exists before and after mediatization, has been altered within the space of technology. Auslander draws out a sophisticated legal argument whose dynamic materialism overlooks the most material manner of marking the live, namely death. Phelan disregards any effect of technology on performance and draws a non-negotiable, essentialist border between the two media. Liveness exists not as a prior condition, but as a result of mediatization. Philip Auslander counters that the live is an artifact of recording media. The nature of performance deteriorates as it is enfolded in technological reproduction. Peggy Phelan argues that performance is defined through its non-reproducibility. The debate regarding the ontology of performance and the nature of liveness has been well rehearsed. But it would be a mistake to imagine that what we experience in the theatre and recorded media is the same experience. Slavoj Zizek, in the introduction to Mapping Ideology, writes that it is a commonplace assumption that "virtual or cyber-sex presents a radical break with the past since in it actual sexual contact with a real other is losing ground against masturbatory enjoyment, whose sole support is the virtual other." He dismisses that assumption by suggesting that "Lacan's thesis that there is no sexual relationship means precisely that the structure of the real sexual act (of the act with a flesh and blood partner) is already inherently phantasmic - the real body of the other serves only as a support for our phantasmic projections." Lacan's argument thus challenges the assumptions inherent in the constructed binary of the live and the virtual, and thereby disputing the claims of immediacy and presence in live performance. The difference is further concretized in the critical writings of theatre and performance studies that ignore such performative mediated forms as film, television, radio, and multimedia. Yet the contemporary discourse surrounding live performance and technological reproduction establishes an essentialized difference between the phenomena. The theatre has always been virtual, a space of illusory immediacy. There is nothing in cyberspace and the screened technologies of the virtual that has not been already performed on the stage. Un nou teatre que replanteja la relació entre obra-espectador i obra-procés de creació. Aquest context ofereix un apropament a la creació teatral des d'uns paràmetres diferents a la tradició escènica clàssica. Se centra, essencialment, en un teatre contemporani que fusiona la tecnologia amb l'espai-temps preformatiu, per a generar una nova teatralitat i/o nous discursos impensables sense el vincle directe entre els dos mitjans. L'investigació analitza les diferents escriptures escèniques que es produeixen quan l'espai escènic utilitza els mitjans audio-visuals. Un nuevo teatro que replantea la relación entre obra-espectador y obra-proceso de creación. Este contexto favorece un acercamiento a la creación teatral desde unos parámetros diferentes a la tradición escénica clásica. Se centra, esencialmente, en un teatro contemporáneo que fusiona la tecnología con el tiempo-espacio performativo para generar una nueva teatralidad y/o nuevos discursos, impensables sin el vínculo directo entre los dos medios. La investigación analiza las diferentes escrituras escénicas que se producen cuando el espacio escénico hace uso de los medios audiovisuales.
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