Designing authentic digital scenography: a mixed methods study of Australian scenographic practice

The notion of authenticity is experiencing a resurgence within theatre and performance. With its myriad of associations – ‘the original’, ‘the real’, ‘truthful’, ‘genuine’, ‘believable’, ‘emotionally resonant’ – authenticity is a key component in engaging audiences with live performance (Schultze 2017). Despite an increasing body of research considering the authenticity of performance, performer and audience experience (Radbourne, Johanson, Glow & White 2009; Walmsley 2013; Au, Ho & Chan 2016; Aykol, Aksatan & İpek 2017), little conversation has taken place in the context of digital scenography.
Digital scenography decentres traditional performance’s claim to authenticity through the destabilisation of place, space, body, voice and time. As the discourse on digital scenography continues to evolve (O’Dwyer 2021), a new framework is essential to understand authenticity in this context; not only audience perceptions of authenticity, but crucially digital scenography's own claim to authenticity. No definition of authenticity exists in the context of digital scenography, and it is unclear how digital scenographic environments influence the production and audience perception of authenticity.
My research will propose a new Framework as a means of guiding the design of authentic digital scenography. This paper therefore briefly summarises extant discussions on authenticity to arrive at a definition within the context of digital scenography, drawing on the core constructs of truthfulness, believability and emotional engagement. Mixed methods research into two Australian performances has been conducted: Boy Swallows Universe (Queensland Theatre, 2021), and Ishmael (Dead Puppet Society, 2021). Data from creative practitioner interviews is offered to provide insight into the impact of an authentic approach to design, while audience surveys illustrate the impact of the digital on perceptions of authenticity. Through my data analysis, I aim to suggest a series of waypoints towards crafting authentic digital scenographies for future makers and designers.