Kwok-kan TAM is Chair Professor of English and Dean of the School of Humanities and Social Science at the Hang Seng University of Hong Kong. He is former Head and current member of the International Ibsen Committee, University of Oslo. His recent publications include the books Ibsen, Power and the Self: Postsocialist Chinese Experimentations in Stage Performance and Film (2019); Chinese Ibsenism: Reinventions of Women, Class and Nation (2019); and The Englishized Subject: Postcolonial Writings in Hong Kong, Singapore and Malaysia (2019). He edits the Springer book series Digital Culture and Humanities.

• Introduction. Performance Arts: Research in the Age of Digital Revolution.- Part One. Virtual Reconstruction of Lost Theatres.- Chapter 1. Virtual Praxis and Theatre Research: Textual Recovery.- Chapter 2. Virtual Praxis: Conducting Performance Research in Virtual Theatres.- Chapter 3. Stardust Orientalism, Virtual Praxis and Digital Construction: “Madame Butterfly” on Ice at the Stardust Hotel, Las Vegas, 1959.- Part Two. Spatial-History Digital Database for Humanistic Research.- Chapter 4. Coded, Transcoded, Encoded, Mapped: Reading Film Adaptations of Ibsen’s Plays in the Digital Age.- Chapter 5. Digital Ibsen: Tracing Houses and Homes in an Ibsen Play.- Chapter 6. A Performance History of Ibsen in America: Outlines, Conjunctures and Regional Diffusion.- Part Three. Digital Culture in Performance Production.- Chapter 7. Digitization and New Modes of Ibsen Studies.- Chapter 8. Artifact as Digihistory: Re-viewing Islamist Militancy.- Chapter 9. Digital Operatic Precedents in Haruki Murakami’s Killing Commendatore.- Part Four.  Arts Tech and Experimentations in Stage Performance?.- Chapter 10. The Carp Fairy in the Digitalised Traditional Chinese Theatre.- Chapter 11. Rethinking the Use of Multimedia Technology in the Theatre.- Chapter 12. Staying Alive: The Plague and Performance in a Digital Age.

Kwok-kan TAM is Chair Professor of English and Dean of the School of Humanities and Social Science at the Hang Seng University of Hong Kong. He is former Head and current member of the International Ibsen Committee, University of Oslo. His recent publications include the books Ibsen, Power and the Self: Postsocialist Chinese Experimentations in Stage Performance and Film (2019); Chinese Ibsenism: Reinventions of Women, Class and Nation (2019); and The Englishized Subject: Postcolonial Writings in Hong Kong, Singapore and Malaysia (2019). He edits the Springer book series Digital Culture and Humanities.

• Introduction. Performance Arts: Research in the Age of Digital Revolution.- Part One. Virtual Reconstruction of Lost Theatres.- Chapter 1. Virtual Praxis and Theatre Research: Textual Recovery.- Chapter 2. Virtual Praxis: Conducting Performance Research in Virtual Theatres.- Chapter 3. Stardust Orientalism, Virtual Praxis and Digital Construction: “Madame Butterfly” on Ice at the Stardust Hotel, Las Vegas, 1959.- Part Two. Spatial-History Digital Database for Humanistic Research.- Chapter 4. Coded, Transcoded, Encoded, Mapped: Reading Film Adaptations of Ibsen’s Plays in the Digital Age.- Chapter 5. Digital Ibsen: Tracing Houses and Homes in an Ibsen Play.- Chapter 6. A Performance History of Ibsen in America: Outlines, Conjunctures and Regional Diffusion.- Part Three. Digital Culture in Performance Production.- Chapter 7. Digitization and New Modes of Ibsen Studies.- Chapter 8. Artifact as Digihistory: Re-viewing Islamist Militancy.- Chapter 9. Digital Operatic Precedents in Haruki Murakami’s Killing Commendatore.- Part Four.  Arts Tech and Experimentations in Stage Performance?.- Chapter 10. The Carp Fairy in the Digitalised Traditional Chinese Theatre.- Chapter 11. Rethinking the Use of Multimedia Technology in the Theatre.- Chapter 12. Staying Alive: The Plague and Performance in a Digital Age.

Kwok-kan TAM is Chair Professor of English and Dean of the School of Humanities and Social Science at the Hang Seng University of Hong Kong. He is former Head and current member of the International Ibsen Committee, University of Oslo. His recent publications include the books Ibsen, Power and the Self: Postsocialist Chinese Experimentations in Stage Performance and Film (2019); Chinese Ibsenism: Reinventions of Women, Class and Nation (2019); and The Englishized Subject: Postcolonial Writings in Hong Kong, Singapore and Malaysia (2019). He edits the Springer book series Digital Culture and Humanities.

• Introduction. Performance Arts: Research in the Age of Digital Revolution.- Part One. Virtual Reconstruction of Lost Theatres.- Chapter 1. Virtual Praxis and Theatre Research: Textual Recovery.- Chapter 2. Virtual Praxis: Conducting Performance Research in Virtual Theatres.- Chapter 3. Stardust Orientalism, Virtual Praxis and Digital Construction: “Madame Butterfly” on Ice at the Stardust Hotel, Las Vegas, 1959.- Part Two. Spatial-History Digital Database for Humanistic Research.- Chapter 4. Coded, Transcoded, Encoded, Mapped: Reading Film Adaptations of Ibsen’s Plays in the Digital Age.- Chapter 5. Digital Ibsen: Tracing Houses and Homes in an Ibsen Play.- Chapter 6. A Performance History of Ibsen in America: Outlines, Conjunctures and Regional Diffusion.- Part Three. Digital Culture in Performance Production.- Chapter 7. Digitization and New Modes of Ibsen Studies.- Chapter 8. Artifact as Digihistory: Re-viewing Islamist Militancy.- Chapter 9. Digital Operatic Precedents in Haruki Murakami’s Killing Commendatore.- Part Four.  Arts Tech and Experimentations in Stage Performance?.- Chapter 10. The Carp Fairy in the Digitalised Traditional Chinese Theatre.- Chapter 11. Rethinking the Use of Multimedia Technology in the Theatre.- Chapter 12. Staying Alive: The Plague and Performance in a Digital Age.