포스트 프로덕션으로서 현실주의 연극－리미니 프로토콜의 <죽음 뒤에 남는 것－아무도 없는 방>과 <상황실>의 체계성

초록

Postproduction by Nicholas Bourriaud as an analytical framework, this paper aims to examine the systemic logic behind Rimini Protokoll's theater production and its author/usership. ‘Documentary theater’, ‘experts of every day’ and ‘actuality’ as signifying keywords, Swiss-German collectives construct and present theater as multifaceted emancipatory platforms. Driven by the culture of user generation, the user-centered participatory theater-making itself performs in this ever-shifting transmedial environment. Here, the multilateral modes of collaborative system operates as a sociopolitical apparatus, fueled by heterogeneous dissipated individuals questing for the space-time relevancy to the world: this form of engagement or ontology brings about reconfiguration of the dynamics between audience and stages, production and reception, author and user, actual and virtual/augmented reality. The very meaning of ‘real’ and ‘authentic’ is contested empirically in the so-called era of ‘post-truth’. Interweaving the first-person viewpoint with the performative storytelling–framing–editing–re/playing–mediating–networking, I will probe the notion of ‘post-’ and its affects on the experientiality and the tectonics of following productions: Nachlass–Pièces sans personnes and Situation Rooms: A multiplayer video piece.

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