Week2:

Janne Tapper’s article Pervasive Games explored the aspects of a pervasive playing culture and the space of in-between-ness between players and non-players. “Pervasive playing consists of a wide variety of games and playing, which are played in the quotidian social environment amongst non-players who may or may not be aware of the playing. The non-players are unaware the game exists in the first place” (Tapper, 143)

However, this raises questions as to whether a performance can really be considered a performance if the non-players are not aware they are witnessing a performance?
The quotidian, meaning everyday space, is the space where non-players make a sudden realisation of the odd behaviour of the players and it is this moment that Tapper calls a moment of in-between-ness. When considering site-specific performance alongside Tapper’s theory of the space of in-between-ness, it was interesting to consider how our site-specific performances may be perceived by non-players – the audience. With our site being an urban space, set in the high street, the non-players will be the public.

“Players need to be aware of both the game world and ordinary life…This space in-between play and reality is structurally embedded in to pervasive games.” (Tapper, 150)

The public sphere, in our case the high street, is the quotidian where non-players will experience this moment of in-between-ness during our site-specific performance.