Spatiotemporal Compression in Theatrical Performance and Its Impact on the Actor’s Performance:  The Play the Frightening Beauty as a Case Study

This research aims to reveal the effectiveness of the dominance element in advertising. The importance of this study lies in clarifying Fundamental transformations have occurred in the global cultural scene, particularly in contemporary theatrical arts, where technology has come to dominate the stage. Theatre has become a space for the coexistence of live performance with multimedia, visual illusion, screens, and light projections to achieve space-time reduction by compressing time and collapsing space through digital media. Consequently, the actor is no longer merely a body present in real time but is challenged to interact and compete with enlarged images or recorded video. This transformation has also affected movement rhythm and emotional depth, requiring a hybrid performance that combines spontaneity, repetition, and integration with technology.

The researcher divided the study into four chapters. The first chapter, Methodological Framework, addressed the research problem through the following question: How did space-time reduction in theatrical performance reflect on the actor's performance in the play The Terrifying Beauty? The significance of the study lies in enriching theatrical studies by examining the relationship between the space-time structure of performance and acting. It also explores the impact of space-time reduction on developing the actor's expressive, physical, and vocal abilities, while highlighting its use as an aesthetic and intellectual tool for intensifying dramatic meaning. The study aims to identify space-time reduction in theatrical performance and its reflection on the actor's performance in The Terrifying Beauty. The chapter concludes with the study limits and definitions of terms.

The second chapter presents the theoretical framework through two sections: Space-Time Reduction in Theatrical Performance and The Actor's Performance and Its Relationship to the Space-Time Structure of Theatrical Performance, followed by the theoretical indicators. The third chapter explains the research procedures, including the population, sample, instrument, methodology, and sample analysis.