Resumen de Tecnologías digitales interactivas: Cotrone, de Marceŀí Antúnez, y la difuminación de las barreras entre espacio, acción y narración
Within the framework of applications known as New Technologies, this paper is part of a media study on the means of interactive digital audio-visual applications and their structural uses. In particular, we focus on the procedural, formal and aesthetic repercussions of such digital media on the conception and perception of scenic space.To this end, we analyse Cotrone (Marceŀí Antúnez Roca, 2010), from an interdisciplinary perspective, evaluating the specific characteristics of its performance, especially its formal and aesthetic specifications, which form a spatial identity. Since the beginning of his solo career, Marceŀí’s artistic viewpoint has been characterized by the perversion of technologies and the incorporation of interactive prototypes with the purpose of developing a personal discourse about individual identity before an existing reality. Cotrone takes these themes from the hypothetical end of the posthumous and unfinished theatre piece of Pirandello, I giganti della montagna, to create a dynamic space based on interactive digital media. Certainly, Cotrone presents interactive digital audio-visual applications in a structural context and an interesting repertoire of spatial resources. Most importantly, the piece puts forward a space typology that behaves as an activator for dramatic development: anactive type of scenography completely opposite to the conventional reactive or passive space. With the aim of building a solid base to the critical appreciation of the staging, we will draw a summary of the personal cosmogony of the author. Secondly, we will determine the specific mechanisms of Cotrone’s dramaturgy and the peculiarities of scenic spacein relation to interactive digital audio-visual applications. Therefore we will evaluate the following: 1) «Systematurgy»: The dramaturgy of computing systems as a scenic construction; 2) Coded relationship between agency and presence; 3) Sensorial effects and «crossmedia»; and, 4) The construction of meaning.
