Robyn Gillam – författare

Performance and Drama in Ancient Egypt examines archaeological and textual materials for evidence of performance-based activities in Egypt from the beginning of the historic period until the later Roman Empire. It takes as its starting point enactments of performance texts from the Graeco-Roman period done by the author's students and examines the widespread vogue for re-enactments on archaeological sites and in the mass media. Performance and Drama in Ancient Egypt presents an historically-based survey of ancient Egyptian performance activities that relates them to other cultural and historical developments. The materials discussed include texts, visual art, architecture and material culture. The author deals with issues that have been raised in the emerging field of performance archaeology as well as seeking to initiate a discussion on performance in Egyptology and related disciplines.

For more than 2,000 years, between 1500 BCE and 600 CE, the Egyptian processional oracle was one of the main points of contact between temple-based religion and the general population. In a public ceremony, a god would indicate its will or answer questions through the movements of a portable cult statue borne by priests or important members of the community.The Egyptian Oracle Project is an interactive performance that adapts this ceremony to serve as the basis for a mixed-reality educational experience for children and young adults, using both virtual reality and live performance. The scene is set in a virtual Egyptian temple projected onto a wall. An oracle led by a high priest avatar (controlled by a live human puppeteer) is brought into the presence of a live audience, who act in the role of the Egyptian populace. Through the mediation of an actress, the audience interacts with the avatar, recreating the event.The series of carefully focused essays in this book provides vital background to this path-breaking project in three sections. After a brief introduction to educational theatre and virtual reality, the first section describes the ancient ceremony and its development, along with cross-cultural connections. Then the development of the script and its performance in the context of mixed-reality and educational theatre are examined. The final set of essays describes the virtual temple setting in more detail and explores the wider implications of this project for virtual heritage.