The history of performance is enormously long as much as the human history, because human has a tendency that to express their desire and hope through the most easy and instinctive expression such as song or dance, and it sufficiently could be the origin of performance. After that performance has actively affected on human life in terms of entertainment, society and even politics. The most outstanding feature of performance is liveness. Because, “Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representation of representations” (Matthew, 2006).

However, over technology rapidly develop especially record aspect performance naturally has been divided two classifications; live performance and non-live performance. Non-live performance is that a sort of recorded performances, performer performs without live audience (of course, performer can imagine spectator) as camera language rather than stage language, and audience watches the performance without live performer according to given view point of camera rather than audience’s choice.

 

As much as live performance and non-live performance have take different method, both type of performance could evoke different sort of impression and emotional stimulation to audience. For example, audience could feel different impression when he or she watches Sweeny Todd the musical and Sweeny Todd the movie in terms of stimulation of sense. Another example is that people could receive different emotional stimulation when they chat with family face to face and merely by phone. In the plain language, audience is most likely to become a participant in live theatre and also could become a just viewer in front of screen. However, this paper not argues that live performance better than non-live performance. Non-live performance as well already is sufficiently recognized in terms of artistic value and unique method of emotional delivery.

 

Generally, people go to the theatre in order to enjoy a performance. In this regard, the term “enjoy” embraces satisfaction of human five senses during the performance. In other words, watching the performance in live theatre is not only watching something on the stage but also direct experiencing through all of sense. In addition, it is a kind of special experiences of human life, and certainly has to involve the concept of liveness.

Liveness can be formed when live performer perform in front of live audience (Jellicoe cited in Matthew, 2006). It means that liveness can become a essential key in live performance studies and a instinct standard which can assort between live performance and non-live performance (Matthew, 2006). Beside, such liveness certainly impact on interaction between performer and audience and even could decide degree of completion of relevant show.

 

REFERENCE

Reason, M. (2006). Young audiences and live theatre, Part 2: Perceptions of liveness in performance. Studies in Theatre and Performance, 26(3), pp.221-241.