Feature         In 2007, I conceived and directed a live performance entitled “The Life and Times of King Kong” in the HopKins Black Box theatre on the campus of Louisiana State University. The ensemble production paid homage to the films, story and icon of King Kong through multiple live and mediatized scenes.  As 2008 marks the 75th anniversary of the Hollywood premiere of King Kong, a classic RKO film about filmmaking set in a clash between the mysterious primordial world and modern civilization, a (re)presentation of our live endeavor at this time and in this way, through a hyper-reflexive digital approach in an online journal, seems appropriate. That is, the clash between the “mysterious primordial world” of live performance and “modern” mediatized “civilization” underscored the performance throughout, so mapping our journey online seems a suitable, if not fated, move. After all, King Kong is a film about a film; thus, our performance about a film about a film contemplated how the live might go about representing the mediatized. Accordingly, this essay, like a photograph, flips the image completely, and imagines how the digital might represent what was once “live.” 
        In addition to investigating and celebrating one of the greatest cinematic icons of all time,“The Life and Times of King Kong” played with, tested, and complicated the relationship between live and mediatized performance as discussed by scholars such as Philip Auslander and Peggy Phelan over the last decade. Instead of rehashing or summarizing a debate many find wearisome and/or unproductive, I wish to heed Marcyrose Chvasta’s call to “remember praxis” and set my discussion firmly in the act of performance. Chvasta reminds us,“Though performance theorists have been debating the ontological status of performance that relies on digital or information technologies, practitioners have carried on without waiting for a scholarly verdict.” (156)  Chvasta’s essay offers a framework that enables the engagement of the topic of “liveness” while strategically circumventing ontological arguments. However, her essay, while valuing practice enough to address it or inspire others toward it, refrains from featuring performance practice as the topic itself. I offer individual moments in “The Life and Times of King Kong” as locations where I might share how I (or we) “carried on.”   
        While the entire performance, by tracing a cinematic icon, explored mediatization, this essay offers moments from the production which I feel highlight the generative relationship between the live and mediatized. Specifically, this interactive essay provides descriptive, analytical, and/or video representations of these scenes in an effort to contribute to performance studies praxis in meaningful ways. I also hope that mapping mediatization in this venue encourages other practitioners to experiment with ways to share their work with others who were unable to be there “live.”