hm so that would be reverse!
I like this idea, especially when I think about the scene down in the
underworld where all these zombies are trying to get some blood...
Just one short word about the playscript:
we built up an "chronical" version of homers odyssey - which would mean
that the scene of Circe is 3rd - well maybe a good station to bring in the
audience?
>Anyway, I have always thought of The Odyssey as the comedy. Are we on the
>same wavelength here?
>
not intended in the first draft. I just took homers word - and they are
very funny in some points. So this will maybe turn out as some comedy? I
began to think of odysseus as someone who might have suffered much but not
that much that he tells us ;)
>What if there are, what, a dozen, twenty special seats in the theaters (or
>maybe all of them) that have a plug and and wire and a switch. Every time
>that person pushes the button (switch), then their clacker goes sproOONNNGG!
>and everyone can hear it. Each chair has its own unique effect--turns
>everything a deep wine shade of red for a moment; exclaims with horror, etc.
>The chairs can be under the control of someone like a lighting or sound tech
>who could bring up the different chairs at an appropriate time.
>
>Have you thought of having a conductor?
>
>Have you established venues?
>
you mean RL stages?
no not really - there are still stations without stages ....
I will come back soon to discussion
Mon
------------------------------alles Theater--------------
Monika Wunderer wunderer@st1hobel.phl.univie.ac.at
++ 43 (1) 892 35 20
http://st1hobel.phl.univie.ac.at/~wunderer/
http://iguwnext.tuwien.ac.at/~oudeis/
th, electric guitars, electroacoustic).
>
At 18:39 15.11.96 -0600, Dan Zellner wrote:
>Ambient sound
>Along with the digitization of the Odysseus, ambient sound of the location
>could be used. This could mean if the next episode is in Chicago maybe
>random phrases in English would be heard, cars and other sounds of the city
>could be heard. Also sounds which have something to do with the Chicago
>episode.
What about that?
Santiago, I like the way you give me the feeling that sound can be
_controlled_ and spontan.
>4. the volume of sounds should be controlled so they don't overcome the
>actors. as we have no control on how many sound will be produced at any
>given moment, a limit sould be set (or not... let chance decide).
>
>5. 'the companions of odysseus':
> to make the cyberchor fade slowly from the begining to the end of the
>play, we can limit the amount of sounds produced in a time grid. ie: when
>the play starts the limit is set to 60 sounds/minute (1 sound/second - this
>will give us quite a lot of noise), then this limit is slowly lowered, at
>the end of the play the limit should be approaching zero.
>
>6. the gathering of sounds:
> i can gather the sounds and work with oudeis' programming team to put
>this all together.
>
remember - we have this written down here ;)
>well, hope you find this ideas interesting, and possible (Bandwidth...)
>
>
>>Well this has also have to be worked out in the script
>>(which is in the beginning of the fourth episode of 7 ...)
>
>Monika: could you post the first three episodes?
its going to be in the web soon
:))))
I tell you when
bussi
Mon
------------------------------alles Theater--------------
Monika Wunderer wunderer@st1hobel.phl.univie.ac.at
++ 43 (1) 892 35 20
http://st1hobel.phl.univie.ac.at/~wunderer/
http://iguwnext.tuwien.ac.at/~oudeis/