I got through your mail with pleasure.
First conferring to:
Long live oudeis!
You have sent suggestions for the eternity of oudeis before, and I know
that the possibility of producing a CD Rom is at least mentioned in our
financial plans.
What you suggest in your mail now sounds even more realistic to me and
suddenly the project becomes a shape :)
At 17:46 19.01.97 -0800, L.H. Grant wrote:
>Now, where I think the real improvisation can occur is in the nature of the
>performance in each city (RL). To make Oudeis truly memorable and to get
>more publicity I think each group should take the performance and make it
>into a local event, an event welcoming Odysseus on his voyage to their
>city. All types of artists could be invited to participate, musicians,
>painters, dancers, etc. In effect, a mini-festival leading to the
>performance in which local food and drink could be sold and which could
>take place in and/or around the theatre. This would undoubtedly draw great
>interest and greatly expand the audience in both the theatres and web.
>
A local feast for every city where odysseus comes. A feast like he found at
the Phaeacians, with everybody listening to him with pleasure and excitement!
I hope this is an incentive for the RL stages to come into our production.
Every stage should create its own performance in some way. Of course there
is this concept where it should fit in and the interaction will take place
between the local actor and the actors of the other stages. But the
"reason" for visiting this theater event will be found outside the pure
performance.
Once again quoting Gernot here (who will hopefully step out of his
invisible role soon :)
Intended in our work, and maybe not emphasized enough, is the rehearsal time:
Rehearsals should take place with all actors of the world at the same RL
place. That would hopefully result in a real interaction between the stages
during the performances.
So the stages should on the one hand have their own "environment" on the
other hand this would be combined with the rest of the world :)
>Another major benefit to this approach would be that we could videotape the
>events (including all of the artists and audiences) in each location and
>turn it into a documentary on the performance of Oudeis that would clearly
>show how this project connected the world. This would be inexpensive to
>accomplish and would also open up another lucrative source of funding by
>way of the various television networks from across the globe. Also, raw
>video of these events could be transmitted over the web and to the other
>RLs before and during the performance adding yet another enhancement. And,
>one more thing, a documentary would certainly give Oudeis life after
>performance.
Documenting the performance with video is important for the documentation,
sure. There is no way to make our object of communication art visible when
it is over (that's the great sign of communication art). You could only try
to document it as good as possible. The thing is that I would like to
postpone the idea of transferring video via the internet. I have seen so
many examples of the bad quality here (maybe Euorpe is even not on the
worst side of the bandwidth but sometimes it was hard to get one single
picture). But the idea that we could maybe bring a TV station for
documenting or transferring these dates sounds good to me.
I agree with Dan (idea-mail of Thu, 5 Dec 1996 ) that this _picture_ is
important for the audience, but this should not be the main point of our
project. So in a view of documentation or additional material we have to
keep it in mind of course.
>It seems to me that within a certain framework a great deal of
>improvisation should be possible. For instance, regarding the structure of
>the sets, I think that all five RL stages need to be connected with some
>common elements that bind them both thematically and literally (in a
>virtual sense, of course). These elements I believe can be reduced to two
>basic essentials, the SEA and SKY.
>
>This would mean that, with the exception of the sea and sky, the sets could
>be designed by the participants in each location. This, of course, would
>reflect the local culture and artistic talents of each group and while
>technically it is not improvisation, it is greater freedom.
Conferring what I wrote above - this is combining the play script and the
realization part. I am conscious of that with the current development of
the script and the idea of the common rehearsals, the project gets another
centralistic (=Vienna, Gernots realization ...) again.
And I thank you for holding this against it. Set design and the actual
performance is something we are still not sure about it. And set design in
our case is more than the "pure stage" for sure!
We have to think about the similarity and the differences in the outlook of
the different stages!
Conferring the creativity of every stage:
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.
>Otherwise it's more of a touring show .... of course nothing wrong with that
>either. Thinking selfishly and from a production standpoint it would be
>easier for me to propose the project to Northwestern if a student or faculty
>member was able to interpret the episode and have some role in creating the
>script/choreography/perfomance plan. I would assume then that this locally
>created episode would have to be reviewed by Monika or Gernot and that they
>would suggest changes and make sure that it fit with the overall concept of
>the piece. 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.
Dan, did you find out something on Northwestern? Can we together prevent
the project of getting a touring show?
I would prefer to split up the several parts soon. Maybe we could discuss
this in the MOO. I am so happy about santiago taking care of the cyberchor
now!
How should we go on with the text?
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/