نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.
2 دپارتمان تئاتر دانشکده سینما تئاتر تهران ایران
چکیده
عنوان مقاله [English]
نویسندگان [English]
The present article explores the relationship between the organic body, technology, and artistic creation within the framework of cyborg theatre. As an emerging branch of performance art, cyborg theatre seeks to redefine the performer’s body through direct interaction with cybernetic systems, sensors, and bio-prosthetic devices. The aim of this study is to analyze how bio-based technologies are employed in the creation of technological bodies and to explain their impact on altering bodily perception and expression on stage. In this regard, Donnarumma’s seminal performances — Hypo Chrysos, Corpus Nil, and Alia: Zǔ tài — are examined as case studies to investigate the mechanisms through which connections between body, data, and machine are formed. The research adopts a qualitative-, descriptive–interpretive methodology based on library resources and comparative observation of performances. The findings indicate that in Donnarumma’s works, the human body ceases to be a representational subject and instead becomes a data-driven system in which bio-signals are transformed into sound, light, and image, enabling the body to function as a self-regulating and dynamic entity. The results reveal that cyborg theatre in Donnarumma’s art moves from a representational model of corporeality toward an inter-systemic dynamism, producing a new aesthetics grounded in biological feedback loops—an aesthetics in which body, media, and consciousness are fused within a cybernetic network. Therefore, cyborg theatre provides a valuable theoretical and experimental framework for rethinking the notions of body, subjectivity, and aesthetic experience in the post-organic era.
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