The virtual puppet in the Machinima movement: discovering virtual puppetry in the 3D performance space of videogames

  title={The virtual puppet in the Machinima movement: discovering virtual puppetry in the 3D performance space of videogames},
  author={Tristan V. Jacobs},
  journal={South African Theatre Journal},
  pages={35 - 44}
Abstract Jane McGonigal, a game designer who received her PhD in performance studies, argues that ‘gamers maximise their play experience by performing belief’ (2003, p. 1). McGonigal calls this habit of ‘pretending’ to believe the ‘Pinocchio effect’ (2003, p. 4). She goes on to say that all gameplay is a type of performance (McGonigal 2005, p. 1). The human body, in relation to the evolution of games/gaming, is more often represented by another figure, that of the ‘avatar’ – a Sanskrit word… 
1 Citations



Tangible interfaces for real-time 3D virtual environments

The TUI3D project (Tangible User Interfaces for Real-Time 3D) addresses production and performative challenges involved in creating machinima through the development of tangible interfaces for controlling 3D virtual actors and environments in real-time.

Games for actors and non-actors

Introduction: A New System of Exercises and Games From The Theatre of The Oppressed. Two Unities. Five Categories of Game and Exercise. I. Feeling What We Touch (Re-structuring Muscular Relations)

The actor's body Constantin stanislavski's cinematic theatre

The connection between cinema and that which is commonly called the ‘Stanislavski method’ is far from obvious. Stanislavski himself repeatedly pointed to the practical rather than theoretical nature

Are we 'users' of interactive stories?

This paper reviews and speculate possible alternatives for the term ‘user’ and discusses whether they are suitable to replace it and takes a look at related art forms and review their terminology.


What is implied when we refer to the study of performing arts as 'drama', 'theatre' or 'performance'? Each term identifies a different tradition of thought and offers different possibilities to the

Acting (Re)Considered: Theories and Practices

Preface 1. General Introduction: Between Theory and Practice Phillip B. Zarrilli PART I: Theories of and Meditations on Acting 2. Introduction Phillip B. Zarrilli 3. The Actor's Presence: Three

Visuality in the Theatre: The Locus of Looking

Perspective and the Paradox of Post-Dramatic Subjectivity 'Step Inside': Absorption, Focalisation and the Subject of Vision Plato's Theatre Navel Gazing as Critical Practice Retheatricalizing

From Acting to Performance: Essays in Modernism and Postmodernism

1. Introduction Part I: From Acting to Performance 2. "Holy Theatre" and Catharsis 3. "Just Be Your Self": Logocentrism and Difference in Performance Theory 4. Task and Vision: Willem Dafoe in LSD

Tolstoy, Stanislavski, and the art of acting

L'A. formule des objections contre la theorie generale de l'art de Leo Tolstoi (1896). Il cherche des liens conceptuels entre la vision de L.Tolstoi de l'art theâtral (formelle) et celle de

Twentieth-century theatre : a sourcebook

Alfred Jarry, Adolphe Appia, Tristan Tzara, Gertrude Stein, Eugene Ionesco, George Bernard Shaw, Sergei Eisenstein, Vsevolod Meyerhold, Bertolt Brecht, Athol Fugard, Helene Cixous, Edward Bond,