Digital studies of drama have tended to emphasise the written text and network analyses. As theatre scholars, we have approached the field from a different perspective by focusing on levels of presence. This includes the embodied presence of not only the speaking characters, but also the non-speaking characters and the imagined characters mentioned by characters present on stage. This in turn includes another embodied presence, namely that of the audience, which actively engages with the text in performance and gives presence to these imagined characters. We also emphasise the implicit performance, the spatiality of the play and the maintenance of the temporal dramaturgical structure. The study is based on the 37 plays of the Danish-Norwegian playwright Ludvig Holberg (1684–1754), published during the period 1723–1754. Holberg's comedies were heavily influenced by Italian commedia dell'arte and stock characters, or masks, were central to his plays. In this article, we discuss the question of how we can analyse levels of presence in drama texts via digital drama analysis, both from a historical and dramaturgical point of view. Our article points to a number of potentials as well as shortcomings of digital drama analysis and to the necessary synergy of close and distant reading.

中文翻译：

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戏剧文本中的存在层次：在近距离阅读和远距离阅读之间1

戏剧的数字研究倾向于强调书面文本和网络分析。作为戏剧学者，我们通过关注呈现的层次，从不同的角度来研究这个领域。这不仅包括说话人物的具体存在，还包括不说话的人物和舞台上人物提到的想象人物。这反过来又包括另一种具体的存在，即观众的存在，他们在表演中积极参与文本，并呈现这些想象的角色。我们还强调隐含的表演、戏剧的空间性和时间戏剧结构的维持。该研究以丹麦-挪威剧作家路德维格·霍尔伯格（Ludvig Holberg，1684-1754 年）于 1723 年至 1754 年期间出版的 37 部戏剧为基础。即兴喜剧和固定角色或面具是他戏剧的核心。在本文中，我们讨论如何从历史和戏剧的角度通过数字戏剧分析来分析戏剧文本中的存在水平。我们的文章指出了数字戏剧分析的许多潜力和缺点，以及近距离和远距离阅读的必要协同作用。