This study introduces the online theater development case of the Nothing Theater, which Korea’s performing arts scene depressed by the COVID-19 pandemic developed based on the game engine Unity. In the online theater, choreographer Hur Yoon-Kyung’s Miniature Space Theater: Open Beta and Cha Ji-Ryang’s Only People Who Want to Leave See Everything were presented as online performances. This study seeks to present the possibility of choreography in online performances by analyzing the choreography and physicality as well as the relationship between performance and audience displayed in those works. When the stage where choreography is implemented and the human body as its medium are displaced into a virtual space, questioning the uniqueness of choreography opens the way for a new interpretation of and discourse on choreography. In the work of Hur, it was observed that the three designed theaters — virtual theater, performance theater, and sound theater were linked and combined through the audience’s movements. In the work of Cha, the audience moves in a three-dimensional space built by twisting and reconstructing a specific space. Suggesting the possibility of online performance, we demonstrate that choreography can be sensed through the composition of space without the physical body of performers and that the online theater can exist through the audience’s participation with their sensing bodies.

The interface of technology tends to limit human movement as the body adapts particular movement patterns to interact with a machine. The multi-touch gesture interface employed by a smartphone also demands a user's certain movement patterns in order to deliver his or her tactile command to the machine more effectively and efficiently. This study aims to observe and analyze the movement of smartphone users and to identify its characteristics associated with the use of such a device. To demonstrate this, 30 second-long movement samples were collected from three different smartphone users and fully investigated at a micro and macro level based on Laban Movement Analysis and Bartenieff Fundamentals (LMA/BF). The findings of this study suggest that smartphone users tend to stay in the same Shape Form with the same size of Kinesphere for a period of time and use distal parts of the body with relatively small movements. The actions frequently performed are touching and sliding, which mostly show one-dimensional directionality; and stillness. In sum, the Inner/Outer movement theme is predominant in the context of using a smartphone as users exist in the inner world or make a bridge to the environment by attending to the device or to themselves according to different inner needs to manipulate the device or to take information from it.

The contemporary notion of choreography as a structural system of human movements in diverse contexts becomes radically challenged in the context of digital performance. Digital performance works that do not necessarily have human dancers, but instead present digital images and sounds can hardly be seen as choreographic practices in an orthodox way. In this article, I primarily investigated how the notion of choreography is reframed in the context of digital performance by delving into the entanglement of choreography with a computational system. In creating an human-computer interface, choreographers shed light on how the human subject is perceived, cognized and embodied through the entanglement of its corporeal body and the machine. Then, their choreographic sensibilities substantiated in the interface design process do not constitute embodied knowledge of the human body as a biological organism, but that of the posthuman body as an integrated being of the biological and the mechanical. In this sense, I argue that postchoreography as a mode of choreography for the posthuman necessitates the understanding of how a machine perceives a physical input and acts upon a virtual world.