Intermediality

Sean Rooney

While intermediality might be taken to include any relation whatsoever between media, Klaus Bruhn Jensen offers three different conceptions of the term based on three understandings of what a medium is. The first conception of intermediality is the notion of “communication through several discourses at once, including through combinations of different sensory modalities of interaction, for instance music and moving images” (1). This is evident in contemporary theatre, where different media such as video, sound, and live performance are integrated into one cohesive performance. The use of digital audiovisual technology and projection mapping has allowed for a more immersive experience, blurring the boundaries between different media, and creating a new form of theatre.

The second conception of intermediality “represents the combination of separate material vehicles of rep-resentation, as exemplified by the use of print, electronic, and digital platforms in acommunication campaign” (1). In this sense, intermediality allows for a more efficient and effective communication strategy, as different media are utilized to create a more cohesive message.

The third conception of intermediality “addresses the interrelations among the media as institutions in society—interrelations that are captured in technological and economic terms such as convergence and concentration” (1). It refers to ways in which media institutions interact with one another, such as how the rise of the internet has impacted traditional print media and the way in which media institutions are owned and controlled, such as the concentration of media ownership in the hands of a few corporations (9).

The concept of intermediality has become an increasingly important and influential aspect of contemporary theatre. Using new media technologies, theatre artists have expanded the traditional boundaries of performance, creating dynamic and immersive experiences that challenge traditional notions of theatre, particularly in terms of time and space. Canadian director Robert Lepage, for example, is well known for his use of intermediality in his productions. His work often combines live performance with film, video, and other digital media to create complex and immersive theatrical experiences. One of his most famous productions, The Seven Streams of the River Ota (1994), used a combination of live performance, film, and video to explore themes of memory, trauma, and healing in the aftermath of World War II. Lepage’s use of intermediality in this production created a multi-layered, non-linear narrative structure.

Robin Nelson argues that intermediality is not just about merging different media, but rather represents a fundamental shift in how we perceive media and communication in the digital age (17). The emergence of new media technologies has enabled theatre artists to experiment with a range of media, such as video, sound, and interactive technologies. This has important implications for the relationship between theatre and its audience, allowing for new possibilities of interaction and participation. The contemporary theatre going audience, due to increasing ubiquity of digital media, experience forms of intermediality in everyday life. Social media, for example, combines text, image, and video to create a multi-layered communication experience. The way we consume and produce media has become more interconnected and interdependent, with each medium and platform informing and shaping others.

Looking to the future of intermediality, technological advancements will play a significant role in shaping the ways in which different media interact and intersect. The possibility of sophisticated new interfaces and the rise of AI modelling open new worlds and new challenges for contemporary theatre. On the one hand, it presents opportunities for artists to experiment with new forms of expression and engage audiences in innovative ways. On the other hand, it raises important questions about the impact of these technologies on our relationship with media, the role of human agency and the ethics of using technology to augment or even replace traditional forms of performance. As scholars continue to delve into the multifaceted implications of intermediality in contemporary theatre, they will hopefully gain a deeper understanding of the possibilities and limitations inherent in the intersection of different media forms within this art form. As technologies advance, the continued exploration of intermediality as concept and practice will remain essential to the growth and development of theatre as an art form.

Works Cited

Jensen, Klaus Bruhn. “Intermediality.” The International Encyclopedia of Communication Theory and Philosophy. 1-12.

Nelson, Robin. “Prospective Mapping.” Mapping Intermediality in Performance. 13-23.