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.

To model system implementations, we define the language of Simple Processes. In this language, systems are defined in the classical style of giving a separate program for each process. Process programs use send and receive actions that need to match during execution in order to achieve a communication. We discuss how implementations of choreographies from the previous chapter can be written in terms of this language. We also formulate in our setting the key properties of parallelism, communication safety, and starvation-freedom, respectively: the capability of executing independent communications in any order; the property that processes never attempt to interact by performing incompatible actions; and the property that every running process eventually gets to act.

We study the properties of Recursive Choreographies and its related notion of EPP in depth. Endpoint projection is proven to guarantee choreography compliance and communication safety in this setting. Starvation-freedom does not hold anymore in general, due to the possibilities opened by general recursion in Recursive Choreographies, but it holds for the tail-recursive fragment of the language. Under some reasonable assumptions, the weaker property of deadlock-freedom holds for any implementation returned by EPP. That is, the EPP of a choreography never gets stuck.

This chapter surveys archaic and classical Greek ideas about music and memory. It first asks why song-producers and audiences, while readily acknowledging the effectiveness and value of music’s verbal components as preservers and enhancers of memory, do not seem to recognize the purely musical elements as being especially “memorable.” Second, I turn toAristotle, seeking to piece together how he thinks music – along with “voice” and sounds in general – functions in relation to memory, primarily through the psychological-somatic workings of the human “imagination,” i.e., his notions of affect (pathos) and phantasia. Even while Aristotle does not address musical memory directly, his work provides a sophisticated account of the material and physiological processes whereby hearing and memory operate in humans and other animals – adumbrating modern accounts based on a more accurate understanding of neurology and cognition. At the same time, since ancient music was experienced live (rather than through recordings or broadcasts) and could never be exactly repeated, there existed a different relationship between present and past in music-listening than most of us are used to today.

The largest (and constantly growing) group of photographs that could be described as ‘Shakespearean’ is that of performance stills, taken both for publicity purposes and for the archive. The opening chapter examines the relationship between performance and photograph, particularly as it relates to the ideologically charged quality of liveness. Focusing on a sample of photographs relating to productions of A Midsummer Night’s Dream by the Royal Shakespeare Company and its predecessor, the Shakespeare Memorial Theatre Company, I discuss photographs by Angus McBean, Gordon Goode, David Farrell, and Anthony Crickmay. I argue that the reinvention of the Stratford company as the RSC coincided with a sea change in photographic techniques which privileged ‘liveness’ at the expense of immaculate composition.

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.