This chapter critically explores the implications of including: surtitles in live performance; a multilingual performance archive; and live streaming of a live performance. Drawing on the subjective experience of translation through a live forum theatre piece, Exit (2018) by Drama Box (Singapore), online video recordings of Macbeth (2007) by Tainaner Ensemble and Li Er Zai Ci (2001) by Contemporary Legend Theatre, and both a live staging and YouTube streaming of Beware of Pity (2017) by Complicite and Schaubühne Berlin, the chapter considers how audience members access language through both hearing and seeing them as surtitles. This extends to how textual display and spoken language can combine to determine the subjective experience of a multilingual performance. Hearing affects what one sees on stage, and vice versa, particularly in a context where translation plays an important role.

This chapter reconsiders what liveness means in a musical culture saturated with digital technologies. Where once live performance was understood in simple opposition to recordings, the proliferation of electronic audio technologies throughout the second half of the twentieth century and their deployment in myriad performance settings has made the categorical separation of recording from performance impossible. Digital technologies have become even further intertwined with the creation of performative meaning than their analogue predecessors. After explaining the development of the liveness concept, the author emphasises the increasing variability of its configuration in the digital age, drawing on discourses around virtuality, posthuman subjectivity and intermediality. The chapter concludes with case studies in musical activity in Second Life and in the microtiming-based compositions of Richard Beaudoin, emphasising the extent to which liveness has become for some artists an actual element of aesthetic interrogation, rather than just a way of categorising a musical experience.