Araştırma Makalesi
BibTex RIS Kaynak Göster

The Virtual Stage: Rethinking Theater Space Through Online Games

Yıl 2026, Cilt: 5 Sayı: 1, 176 - 189, 01.02.2026
https://doi.org/10.58850/bodrum.1672891

Öz

This study investigates the theatrical space in digital environments, with a particular focus on online performances produced during the COVID-19 pandemic. While theater has historically relied on physical settings to structure audience-performer interactions, digital performances challenge conventional notions of space. In contrast, online games maintain a strong connection to the notion of space and architectural discipline by incorporating 3D worlds. Based on performance theories linking theater to games, this study develops an interdisciplinary relationship among theater, online gaming, and architecture to construct a framework for understanding digital performance space. The methodology employs a comparative case study, analyzing five online theater performances alongside representative examples from digital games. Based on a theoretically grounded analytical framework, the spatial components and configurations of digital performances are investigated through four criteria: host performance space, ghost performance space, host audience space (interactions), and ghost audience space (sense of community). Findings indicate that online theater’s fragmented virtual and real spaces fail to foster a sense of community, which is vital for theatrical events. Conversely, online games merge real and fictional elements into collective, immersive virtual environments, offering a stronger model for online theater spaces.

Kaynakça

  • And, M. (1992). Başlangıcından 1983’e Türk tiyatro tarihi. İletişim Yayınları.
  • Artaud, A. (1958). The theater and its double. Grove Press. (Original work published 1938)
  • Auslander, P. (2023). Liveness: Performance in a mediatized culture. Routledge.
  • Bay-Cheng, S. (2023). Digital performance and its discontents (or, problems of presence in pandemic performance). Theatre Research International, 48(1), 9-23. https://doi.org/10.1017/S0307883322000372
  • Bennet, S. (n.d.). Alice - A virtual theme park review. OX Magazine. https://www.oxmag.co.uk/articles/alice-a-virtual-theme-park-review/ (30.04.2025).
  • Brilli, S., Gemini, L., & Giuliani, F. (2023). Theatre without theatres: Investigating access barriers to mediatized theatre and digital liveness during the COVID-19 pandemic. Poetics, 97, 1-13. https://doi.org/10.1016/j.poetic.2023.101840
  • Brook, P. (1968). The empty space. Simon & Schuster.
  • Carlson, M. A. (1989). Places of performance: The semiotics of theatre architecture. Cornell University Press. Fischer-Lichte, E. (2008). The transformative power of performance: a new aesthetics. (S. I. Jain, Trans.) Routledge.
  • Fuchs, B. (2022). Theater of lockdown: Digital and distanced performance in a time of pandemic. Methuen Drama.
  • Geffen Stayhouse Theater. (2020). Citizen detective. Geffen Playhouse. https://www.geffenplayhouse.org/shows/citizen-detective/ (30.04.2025).
  • Groat L., Wang, D. (2013). Architectural research methods (2nd ed). John Wiley & Sons.
  • Gropius, W. (1961). Introduction. In O. Schlemmer, L. Moholy-Nagy, & F. Molnár, The theater of the Bauhaus (pp. 7-16). Wesleyan University Press.
  • Grosz, E. (2001). Cyberspace, virtuality, and the real: some architectural reflections. In E. Grosz, Architecture from outside (pp. 75-90). The MIT Press.
  • Hannah, D. (2018). Event-space: Theater architecture and the historical avant-garde. Routledge. IW Dibia, Ballinger, R. (2004). A guide to the performing arts of Bali: Balinese dance, drama & music. Tutte Publishing.
  • Karam, K. M., & Naguib, G. M. (2022). The potentials and challenges of Zoom live theatre during coronavirus lockdown: Pandemic therapy and Corona Chicken (Part Two). New Theatre Quarterly, 38(2), 151-171. https://doi.org/10.1017/S0266464X22000057
  • Kime, H. (2020). LAG: A zoomsical comedy. Film Freeway. https://filmfreeway.com/zoomsical (30.04.2025).
  • Levine, Q. (n.d.). The role of architects in VR, AR, and video game. Bergmeyer. https://www.bergmeyer.com/trending/the-role-of-architects-in-vr-ar-and-video-games (12.06.2024).
  • Mackay, D. (2001). The fantasy role-playing game: A new performing art. McFarland & Company.
  • Mackintosh, I. (1993). Architecture, actor and audience. Routledge.
  • Masura, M. (2020). Digital theatre: The making and meaning of live mediated performance, US & UK 1990-2020. Palgrave MacMillan.
  • McAuley, G. (2000). Space in performance: Making meaning in the theatre. Ann Arbor.
  • Nellhaus, T. (2017). Online role-playing games and the definition of theatre. New Theatre Quarterly, 33(4), 345-359. https://doi.org/10.1017/S0266464X17000483
  • Newman, K. (2005). Albert in Africa: Online role-playing and lessons from improvisational theatre. Computers in Entertainment (CIE), 3(3), 1-18. https://doi.org/10.1145/1077246.1077260
  • Official London Theatre. (2024). Watching Rosie starring Miriam Margolyes and Amit Shah to be re-released online from 12 November. Official London Theatre. https://officiallondontheatre.com/news/watching-rosie-starring-miriam-margolyes-re-released-online-12-november/ (30.04.2025).
  • Okagbue, O. (2007). African theatres and performances. Routledge.
  • Pearson, M. (2010). Site-specific performance. Palgrave Macmillan.
  • Schechner, R. (1973). Environmental theater. Applause.
  • Schechner, R. (1988). Performance theory. Routledge.
  • Schumacher, P. (2022). The metaverse as opportunity for architecture and society: design drivers, core competencies. Architectural Intelligence, 1(1), 1-11. https://doi.org/10.1007/s44223-022-00010-z
  • Sterian, J.-I. (2021). At home on Zoom: Theatre shows during the quarantine time. Istanbul Anthropological Review, 1, 33-57. https://doi.org/10.26650/IAR2021-1012
  • Sun, C. (2021). Architecting the Metaverse. Archdaily. https://www.archdaily.com/968905/architecting-the-metaverse (30.04.2025).
  • Tekelek, N. (2010). Bellek, gelenek ve köy tiyatrosu geleneğimiz. Tiyatro Araştırmaları Dergisi, 29, 25-42. https://doi.org/10.1501/TAD_0000000237
  • The Family Stage. (2020). review (from a distance): Alice, a virtual theme park (CreationTheatre, Big Telly Theatre Company and Charisma.AI). The Family Stage. http://www.thefamilystage.co.uk/2020/08/10/review-from-a-distance-alice-a-virtual-theme-park-creation-theatre-big-telly-theatre-company-and-charisma-ai/ (30.04.2025).
  • Tidworth, S. (1973). Theatres; an architectural and cultural history. Praeger Publishers.
  • Turner, V. (1982). From ritual to theatre: the human seriousness of play. Paj Publications.
  • Wiles, D. (2003). A short history of western performance space. Cambridge University Press.
  • Yin, R. K. (2018). Case study research and applications: Design and methods (6th ed.). Sage.

The Virtual Stage: Rethinking Theater Space Through Online Games

Yıl 2026, Cilt: 5 Sayı: 1, 176 - 189, 01.02.2026
https://doi.org/10.58850/bodrum.1672891

Öz

This study investigates the theatrical space in digital environments, with a particular focus on online performances produced during the COVID-19 pandemic. While theater has historically relied on physical settings to structure audience-performer interactions, digital performances challenge conventional notions of space. In contrast, online games maintain a strong connection to the notion of space and architectural discipline by incorporating 3D worlds. Based on performance theories linking theater to games, this study develops an interdisciplinary relationship among theater, online gaming, and architecture to construct a framework for understanding digital performance space. The methodology employs a comparative case study, analyzing five online theater performances alongside representative examples from digital games. Based on a theoretically grounded analytical framework, the spatial components and configurations of digital performances are investigated through four criteria: host performance space, ghost performance space, host audience space (interactions), and ghost audience space (sense of community). Findings indicate that online theater’s fragmented virtual and real spaces fail to foster a sense of community, which is vital for theatrical events. Conversely, online games merge real and fictional elements into collective, immersive virtual environments, offering a stronger model for online theater spaces.

Kaynakça

  • And, M. (1992). Başlangıcından 1983’e Türk tiyatro tarihi. İletişim Yayınları.
  • Artaud, A. (1958). The theater and its double. Grove Press. (Original work published 1938)
  • Auslander, P. (2023). Liveness: Performance in a mediatized culture. Routledge.
  • Bay-Cheng, S. (2023). Digital performance and its discontents (or, problems of presence in pandemic performance). Theatre Research International, 48(1), 9-23. https://doi.org/10.1017/S0307883322000372
  • Bennet, S. (n.d.). Alice - A virtual theme park review. OX Magazine. https://www.oxmag.co.uk/articles/alice-a-virtual-theme-park-review/ (30.04.2025).
  • Brilli, S., Gemini, L., & Giuliani, F. (2023). Theatre without theatres: Investigating access barriers to mediatized theatre and digital liveness during the COVID-19 pandemic. Poetics, 97, 1-13. https://doi.org/10.1016/j.poetic.2023.101840
  • Brook, P. (1968). The empty space. Simon & Schuster.
  • Carlson, M. A. (1989). Places of performance: The semiotics of theatre architecture. Cornell University Press. Fischer-Lichte, E. (2008). The transformative power of performance: a new aesthetics. (S. I. Jain, Trans.) Routledge.
  • Fuchs, B. (2022). Theater of lockdown: Digital and distanced performance in a time of pandemic. Methuen Drama.
  • Geffen Stayhouse Theater. (2020). Citizen detective. Geffen Playhouse. https://www.geffenplayhouse.org/shows/citizen-detective/ (30.04.2025).
  • Groat L., Wang, D. (2013). Architectural research methods (2nd ed). John Wiley & Sons.
  • Gropius, W. (1961). Introduction. In O. Schlemmer, L. Moholy-Nagy, & F. Molnár, The theater of the Bauhaus (pp. 7-16). Wesleyan University Press.
  • Grosz, E. (2001). Cyberspace, virtuality, and the real: some architectural reflections. In E. Grosz, Architecture from outside (pp. 75-90). The MIT Press.
  • Hannah, D. (2018). Event-space: Theater architecture and the historical avant-garde. Routledge. IW Dibia, Ballinger, R. (2004). A guide to the performing arts of Bali: Balinese dance, drama & music. Tutte Publishing.
  • Karam, K. M., & Naguib, G. M. (2022). The potentials and challenges of Zoom live theatre during coronavirus lockdown: Pandemic therapy and Corona Chicken (Part Two). New Theatre Quarterly, 38(2), 151-171. https://doi.org/10.1017/S0266464X22000057
  • Kime, H. (2020). LAG: A zoomsical comedy. Film Freeway. https://filmfreeway.com/zoomsical (30.04.2025).
  • Levine, Q. (n.d.). The role of architects in VR, AR, and video game. Bergmeyer. https://www.bergmeyer.com/trending/the-role-of-architects-in-vr-ar-and-video-games (12.06.2024).
  • Mackay, D. (2001). The fantasy role-playing game: A new performing art. McFarland & Company.
  • Mackintosh, I. (1993). Architecture, actor and audience. Routledge.
  • Masura, M. (2020). Digital theatre: The making and meaning of live mediated performance, US & UK 1990-2020. Palgrave MacMillan.
  • McAuley, G. (2000). Space in performance: Making meaning in the theatre. Ann Arbor.
  • Nellhaus, T. (2017). Online role-playing games and the definition of theatre. New Theatre Quarterly, 33(4), 345-359. https://doi.org/10.1017/S0266464X17000483
  • Newman, K. (2005). Albert in Africa: Online role-playing and lessons from improvisational theatre. Computers in Entertainment (CIE), 3(3), 1-18. https://doi.org/10.1145/1077246.1077260
  • Official London Theatre. (2024). Watching Rosie starring Miriam Margolyes and Amit Shah to be re-released online from 12 November. Official London Theatre. https://officiallondontheatre.com/news/watching-rosie-starring-miriam-margolyes-re-released-online-12-november/ (30.04.2025).
  • Okagbue, O. (2007). African theatres and performances. Routledge.
  • Pearson, M. (2010). Site-specific performance. Palgrave Macmillan.
  • Schechner, R. (1973). Environmental theater. Applause.
  • Schechner, R. (1988). Performance theory. Routledge.
  • Schumacher, P. (2022). The metaverse as opportunity for architecture and society: design drivers, core competencies. Architectural Intelligence, 1(1), 1-11. https://doi.org/10.1007/s44223-022-00010-z
  • Sterian, J.-I. (2021). At home on Zoom: Theatre shows during the quarantine time. Istanbul Anthropological Review, 1, 33-57. https://doi.org/10.26650/IAR2021-1012
  • Sun, C. (2021). Architecting the Metaverse. Archdaily. https://www.archdaily.com/968905/architecting-the-metaverse (30.04.2025).
  • Tekelek, N. (2010). Bellek, gelenek ve köy tiyatrosu geleneğimiz. Tiyatro Araştırmaları Dergisi, 29, 25-42. https://doi.org/10.1501/TAD_0000000237
  • The Family Stage. (2020). review (from a distance): Alice, a virtual theme park (CreationTheatre, Big Telly Theatre Company and Charisma.AI). The Family Stage. http://www.thefamilystage.co.uk/2020/08/10/review-from-a-distance-alice-a-virtual-theme-park-creation-theatre-big-telly-theatre-company-and-charisma-ai/ (30.04.2025).
  • Tidworth, S. (1973). Theatres; an architectural and cultural history. Praeger Publishers.
  • Turner, V. (1982). From ritual to theatre: the human seriousness of play. Paj Publications.
  • Wiles, D. (2003). A short history of western performance space. Cambridge University Press.
  • Yin, R. K. (2018). Case study research and applications: Design and methods (6th ed.). Sage.
Toplam 37 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Mimari Tarih, Teori ve Eleştiri, Performans Sanatı, Sahne Tasarımı
Bölüm Araştırma Makalesi
Yazarlar

Elif Öztek 0000-0002-3711-180X

Gönderilme Tarihi 9 Nisan 2025
Kabul Tarihi 3 Aralık 2025
Yayımlanma Tarihi 1 Şubat 2026
Yayımlandığı Sayı Yıl 2026 Cilt: 5 Sayı: 1

Kaynak Göster

APA Öztek, E. (2026). The Virtual Stage: Rethinking Theater Space Through Online Games. Bodrum Journal of Art and Design, 5(1), 176-189. https://doi.org/10.58850/bodrum.1672891