The Pittsburgh Tatler: This past summer, my colleague Kyle Haden and I led a small “think tank” at the Carnegie Mellon University School of Drama aimed at exploring the landscape of live performance in the age of Covid-19. The research questions we posed to the student participants in the course were relatively straightforward: what’s “out there” in the world of remote and digital live performance, what’s working well, why does it work well when it does, and what tools and techniques need to be mastered in order to make compelling and captivating live performance for remote or socially distanced performers and audiences?
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