For at least thirty years, scholars have debated the centrality of physical and embodied presence as essential to the experience of theatre and performance. A debate that was perhaps largely academic suddenly became a shared reality when COVID-19 shuttered live venues, closed universities and moved artists of all kinds online. Suddenly, much of the theatre world began acting for the (web)camera. This article considers the changing attitudes toward notions of theatrical presence before and throughout the pandemic and what these changes might mean for the future of live arts. In particular, it posits the intersection of theatre, film and media history as key to understanding digitally enhanced contemporary experiences and expectations of post-pandemic performances.

中文翻译：

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数字表演及其不满（或流行表演中存在的问题）

至少三十年来，学者们一直在争论身体和身体存在的中心地位对于戏剧和表演体验的重要性。当 COVID-19 关闭现场场地、关闭大学并将各种艺术家转移到网上时，一场可能主要是学术性的辩论突然变成了一个共同的现实。突然间，许多戏剧界开始为（网络）摄像机表演。本文考虑了在大流行之前和整个大流行期间人们对戏剧存在概念的变化态度，以及这些变化对现场艺术的未来可能意味着什么。特别是，它将戏剧、电影和媒体历史的交集作为理解数字增强当代体验和大流行后表演期望的关键。