@article{ART002914372},
author={Inkyung Baik},
title={Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow},
journal={Journal of Modern English Drama},
issn={1226-3397},
year={2022},
volume={35},
number={3},
pages={33-52}
TY - JOUR
AU - Inkyung Baik
TI - Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow
JO - Journal of Modern English Drama
PY - 2022
VL - 35
IS - 3
PB - 한국현대영미드라마학회
SP - 33
EP - 52
SN - 1226-3397
AB - The House of Sorrow is a digital game-based performance piece that stages a video game as the platform to stage themes of memory, thoughts, and their transformations through streaming. This piece is takes the form of a metagame that deals with game within a game, as it employs the artist-created game contents as its central narrative element and welcomes the audience to a virtual theater on a Minecraft map. Yet, from a different point of view, The House of Sorrow simulates stage and theater through the double structure of the game that stages both the diegetic narrative space and the non-diegetic empirical environment. In this context, the argument of this study is that the aesthetic dimension of this piece is noticeable through the apparatus and grammar of theater. This paper thus posits The House of Sorrow as a performing art and investigates the dramatic function of the game-narrative and the staging characteristics of the game-streaming in order to examine the heterogeneous space that unfolds between the performance and digital media. The game “The House of Sorrow” as dramatic text has a self-reflexive and self-referential nature, but the meta-usage of this game operates through its relationship with another world via game-streaming. The game-streaming that mediates the virtuality of the game and the reality of the performance generates the theatrical structure of the performer’s role-playing and the spectators’ game-watching, so creating an interplayable environment for game-playing. Thus, The House of Sorrow appropriates the most trend in popular media culture and registers it within the context of theater, overlapping game and theater ― and what emerges amidst the double would be theater, or play in the most original sense.
KW - The House of Sorrow;metatheatre;metagame;theatricality;media performance;streaming
DO -
UR -
ER -
Inkyung Baik. (2022). Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow. Journal of Modern English Drama, 35(3), 33-52.
Inkyung Baik. 2022, "Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow", Journal of Modern English Drama, vol.35, no.3 pp.33-52.
Inkyung Baik "Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow" Journal of Modern English Drama 35.3 pp.33-52 (2022) : 33.
Inkyung Baik. Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow. 2022; 35(3), 33-52.
Inkyung Baik. "Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow" Journal of Modern English Drama 35, no.3 (2022) : 33-52.
Inkyung Baik. Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow. Journal of Modern English Drama, 35(3), 33-52.
Inkyung Baik. Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow. Journal of Modern English Drama. 2022; 35(3) 33-52.
Inkyung Baik. Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow. 2022; 35(3), 33-52.
Inkyung Baik. "Metatheatricality in Jisun Kim’s Digital Game-based Performance The House of Sorrow" Journal of Modern English Drama 35, no.3 (2022) : 33-52.
