>
>i think this is one of the best things happening lately. i agree that we
>should start making decitions rather than putting 'may be' or 'could' every
>three words! :)
::heavy nod
I realized it while typing. I had to rewrite some of our sentences by
erasing the "maybe". We should really fix something now (so that we can say
NO after and not MAYBE NOT :)
>
>
>>My idea is to define the parts of our project to help making the whole
>>concept clearer to someone who never heard about it before.
>
>and to all of us!
>
yes yes yes
for communication
>
>>(----- here the long promised sketch of the stage ------- sigh)
>
>i'll put my sketch on my website, but i don's know if its right. it has the
>audience, stage, technicians/gods, and screens as described by gernot on
>his visit. the URL is:
>http://www.geocities.com/Paris/3721/stage.gif
>
:-o
:-o
:-o
oudeis team vienna, -- have you seen that?????
>
>>4.) Actors:
>>
>>4.1) Real Actors
>>On each venue at least one player is needed. Probably two actors will be
>>needed in the most cases because of the quick change of the scenes to
>>change costume (--------see again the table of venues and roles, coming
>>soon------).
>>Theoretically up to 6 actors can interact at the same time (one on every
>>stage).
>
>something i think we never talked about: costumes?
:nods
Gernot and I did last time, and we had very different opinions:
he thought of very colorful, decorated costumes,
I thought of the actors dressed in black, "working costumes" to speak with
the words of Meyerhold, maybe dancing or sporting clothes, but very simple,
like the light cones are very simple as well.
hm, Ulli?
I warmly welcome Ulli Noe on this list, who subscribed recently. I think
she worked with Gernot already in various productions, Maybe she could help
us here again.
>
>
>
>>4.2) Light Cones
>>Each real actor is represented as a light cone on the other stages, so that
>>the audience of every venue can watch and hear all actors playing. The
>>audience connected via their computerscreen will get the visualization and
>>the sound of all actors.
>
>big question: how will virtual audience 'see' all this. i have some ideas,
>but i'd prefer if you/gernot told us yours.
>
-------------- still looking for a designer of the webstages as well! I am
always thinking of some visualization like gupi has drawn it in his first
sketches. A simple chessboard with moving cones on it (in "simple" 3D or in
2D)
>
>>Sounds of voices singing 'a capella' in greek, composed by Santiago
>>Pereson,
>
>and the group composing idea?
yes, how should I define it ? I didn't like it at all how I wrote this
paragraph, didn't know how to express that the sound is precomposed and the
audience produces ---- well what does the audience do? mix the preproduced
tunes together?
>
>
>>6.) The gods
>>In Oudeis there are the technicians who have the outlook to be omnipotent.
>>They have a power combined with little faults just like the greek goods
>>used to have.
>
>:laughs
ok,ok I didn't work yet on the myths
*blushes*
Rainer - do you already know how many technicians we will need on every
stage????
>
>
>>7.1.3)Text
>>A screen that shows the text of the Episodions (in English and in the
>>mother tongue of the venue?)
>
>i vote for both languages (english, for sync et al; local, for the
>audience). i know this will help us 'sell' the idea to local partners.
>
:clears her throat
copyright:
we have to ask every publishing company if we are allowed to
1) work on the translation they published
2) perform their translation
and we will have to pay something for that.
Big question here. Not yet discussed in all points how to handle. Karin
and Gernot will contact Norton Company (english text).
>
>>7.2) The Lobby
>>To establish a relationship between the audience members on every venue,
>>there use of a TV connection is intended. TV screens placed in the Lobby
>>would show pictures taken live from the audience of the other stages. By
>>moving, waving and saying cheers the audience members could interact
>>worldwide before and after the actual play.
>
>via satellite or CU-SeeMe via internet?
Satellite because it is faster (would be great if we find a TV company)
>
>
>>7.3) Net lags
>>In all of the strange and exotic lands Odysseus journeyed there were two
>>things that remained constant, the sea and sky. These two elements that
>>unite all of the locations of The Odyssey and unite all of the RL stages
>>of Oudeis.
>>Two issues - the everthreatening Netlags/Netsplits and the dramaturgical
>>need to display the Net somehow in the play - could be (partly) handled by
>>providing the RL-audience with pictures/short video clips of a -
>>quiet/stirred? - ocean via monitors at the beginning of the play,
>>accompanied by a mixture of sea sounds and Netnoise during possible
>>problems of any kind, i.e. Netlags/-splits ... this could - apart from
>>making it visible - make for a dramaturgical representation of the Net as
>>the other protagonist in the performance.
>
>so when there's a net lag some 'god' on the stage will 'push the red
>button' and we get a net storm?
>
Boris?
>>I left out the technical points here. (We have our weekly meeting in one
>>hour so than I will update this with the team)
>>And I suppose that we will have to shorten it for the printed version,
>>maybe some of the points should be kept back as "internal" discussion.
>
>i've found producers/managers (and local partners) don't like 'not yet
>decided' things, so i guess anything that is not definitive should be left
>out of the printed version.
>
:agree
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/
I am milk
I am red hot kitchen
And I am cool
Cool as the deep blue ocean
I am lost
So I am cruel
But I'd be love and sweetness .....
c: garbage
