trying to catch up with the discussion, and trying to get the mix between
oudeis-tech and oudeis-idea cleared up :)
At 02:54 23.12.96 -0300, santiago pereson wrote:
>so will everybody be speaking in neglish, or a healthy mix of languages
>will be heard all over the globe?
I am sorry, that I was not clear about the fist draft of the script in the
web.
The script is the _beginning_ of and idea of the scenes. I used Albert
Cooks translation for this draft (because english is the language that we
use in our discussion) but I tried to include all line numbers and
apostrophes correctly, so it would be easy to use this in the several
translations.
The scenes are as I said still not worked out and playable and the end is
missing but
I think now the time should come where the stages decide which scene they
want to perform, and than work it out in their language.
At 08:30 20.12.96 -0600, Dan Zellner wrote:
> I guess that's why I would encourage the involvement of the other sites in
>the interpretation of the episodes. If it's going to be an international
>project you may as well engage the cultural perspectives of the other sites.
>... Monika and Gernot as dramaturg/producer/director looking over all
>the episodes and seeing how they fit together. Making sure they tell the
>whole story in an effective way and with the overall concept in mind.
That's exactly why we made this first draft - to have it be continued :)
santiago continued with:
>3. Web audience usually understands english pretty well, but all of us
>non-english/american/australian/etc. like to have the choice to use our
>language. so almost everybody has different versions of their sites in
>different languages. internet is multilingual, why should we loose this on
>the play?
>
maybe we should additional provide the english translation during the play
the whole time (to be seen in the net and on the stages) . We had this
discussion right on the beginning, there we spoke about subtitles - now we
invented "Zeus typing on the computerscreen". The idea is that this screen
would provide (in english - because this is also the language programmers
use) the text of the whole play continuously.
>4. the analogy gets closer to reality. ulysses spoke greek, internet is
>multilingual. let's have a multilingual party next year (and remember to
>include greek!).
tnx - yeah let us not forget about this!!
At 12:52 21.12.96 -0800, Jim Terral wrote:
>This question keeps coming up. Odysseus' journey takes him to places around
>the Mediterranean. Each book is like a play. Odysseus, Penelope, Telemachus,
>Nestor, Tiresias, the nurse maid--what is her name?--these are present at
>all locations because Ulysses carries them around with him. Circe's dingle
>is one. Lotus land--lotusland is a favorite term for British Columbia. BC is
>Canada's LotusLand. So maybe there is a stage here, or maybe just a
>workstation in a setting that would allow half a dozen other "ghosts" to
>participate. Getting past Scylla and Charybdis is full of suspense. The
>Cyclops, of course, is another place. Monika called them as if they were
>stations. The dog. Home. That's an important one. Scenes.
Now, that we have found an idea which scenes to choose (please - we are
waiting for feedback if this choice was ok or not. AND: we still have to
cut some of the places out I think) - we should now know WHERE to perform
these scenes.
The best thing would be to have an "explanation" why one scene has to be
situated in exact this or that country (thank you Jim for providing one !).
Maybe this will not be possible for every stage.
Remember: we are having a play about Odysseus taking a world wide journey.
He travels with the use of the internet, that's why he can come everywhere
where we find an internetconnection - like he found islands in the ocean.
Problem: To have the interaction between real actors and virtual actors
(about the technical problem of this I will speak in another mail) we said
that Odysseus has to be one stage behind his station. This means if the
lotusland is in british columbia, where his companions get high on drugs,
the RL actor of odysseus would be for example in chicago. Taking this
example the scene would perhaps be written by the people in BC- maybe in
french?? Would then Odysseus in Chicago also speak french??? Or would he
speak in english (the language of Chicago) and get his answer in french.
Maybe the idea of "odysseus always being BEHIND the scene" isn't very
logical, but it would provide the possibility to have an INTERACTION
between real and virtual actor!
waiting for responses on the script
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/