Abstract The theatre of Jay Scheib blends theatrical and filmic features, allowing for a theoretical investigation of the manner in which two different media coexist on the same expressive support. How can two distinct media like film and theatre fuse and, at the same time, be apprehended as separate artistic means in a single artifact? The present article uses a theoretical interpretive metaphor that rests on an application of the mechanisms of relationship between two physical systems issued from the quantum mechanical view of reality. From this perspective, the two afore-mentioned media are in an entangled state. Media is understood as “potential materials or forms for future practices,” or “automatisms” (Rodowick 2007, 42). At the same time, theatrical or cinematic media is apprehended by the audience in a dynamic way, not defined as a static bundle of defining features. Dynamic conceptualization will modulate or “tune” the comprehension of one of the media considered to be a subordinate system in the duplex. The blending of the two media presupposes a local conceptualization unfolding dynamically and an entangled one manifested nonlocal. The distinction between film and theatre is also to be seen as a difference in the cognitive model which posits a detached display (a screen/a scene), an imaginary world (a diegesis) and a spectator (observer). In theatre, the body of the observer is inside the theatrical display setting, while in film, the body of the viewer is conceptualized to be separated from the cinematic display. The notion of threshold, introduced by Dudley Andrew (2010), renders this shift of attention from one side of the display to the other.

中文翻译：

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Jay Scheib剧院的剧院或媒体纠缠

摘要杰伊·舍伊布（Jay Scheib）的剧院融合了戏剧和电影的特征，可以对两种不同媒体在相同的表达支持下共存的方式进行理论研究。电影和剧院这两种截然不同的媒体如何融合在一起，同时又作为一种单独的艺术手段被理解为一件艺术品？本文使用理论解释性的隐喻，该隐喻基于对从现实的量子力学观点出发的两个物理系统之间的关系机制的应用。从这个角度来看，上述两种介质处于纠缠状态。媒体被理解为“未来实践的潜在材料或形式”或“自动主义”（Rodowick 2007，42）。同时，观众会动态地了解戏剧或电影媒体，没有定义为定义要素的静态捆绑。动态概念化将调制或“调整”被视为双工中的从属系统的媒体之一的理解。两种媒体的融合以一个本地化的概念化为前提，动态地展开，一个纠缠的媒体化显示为非本地化。电影和戏剧之间的区别也可以看作是认知模型的差异，该认知模型假定了分离的显示（屏幕/场景），虚构的世界（观众）和旁观者（观察者）。在剧院中，观看者的身体位于剧院的表演场所内，而在电影中，观看者的身体被概念化为与电影显示器分开。Dudley Andrew（2010）提出的阈值概念使注意力从显示的一侧转移到另一侧。