Hello all,
I assure you, I didn't mean to lurk ... :-) I'm just a bit late with my =
reply ...
First of all let me say that I agree with Dan and Santiago, that pinning =
down things by now is definitely more effective than further (though =
enjoyable and fruitful) discussion. Hopefully, nobody in the Vienna team =
feels too frustrated about the fact, that time pressure begins to show =
its "creative potential". Although I'm by far less involved than all of =
you are, I'm interested in getting a picture as well, and after Monika's =
last mail I feel it's really starting to figure out. Despite of all the =
pressure you all might feel at the moment, I think that this is a quite =
productive way of working - building a big heap and then starting to cut =
away what's not needed in order to arrive at a certain form (oh no, not =
Brook again). One last word concerning the "maybes": To me this =
"uncertainty" was, too, a means to keep open the discussion for every =
sort of input, and - having read the mails that have been exchanged so =
far - I really admire the ability of all participants to keep up the =
dialogue, to stay curious, to leave things unfixed in order to give room =
to imagination and discussion.=20
http://www.geocities.com/Paris/3721/stage.gif
Great!
>
>>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.
I would opt for the "working costumes"as well, since they seem to match =
with the overall technical and sober atmosphere of the whole. Since you =
are showing a great deal of the "machinery" (computers and technicians - =
in white overalls? - visible to the audience, Zeus typing on the screen) =
I feel the epic component is quite prominent, anyway. Further on, =
splendid costumes stress the notion of a individual and developed =
character - but as it seems to me, a certain degree of exchangeability =
on the part of the characters is part of the concept. The actors should =
oppose the light cones by virtue of their pure physicality, not by =
individuality. (?) Further on, the use of splendid costumes might give =
the idea of a more traditional theatre and could encourage the idea that =
you have some sort of confrontation in mind, theatre vs. media or =
something of that kind (whereas, to my understanding, the whole project =
aims more at a symbiosis than at a confrontation of the two).
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)
But should the design of the webstage imitate/document the design of the =
real stage or should it have a design of its own? In the latter case I =
could think of a quasi-3D representation (3D perspective) of the stage, =
with a changing background (.gif) everytime the setting of the play =
changes (how could one indicate a change of setting?). True, in that =
way, the webstage would be closer to a traditional stage, but I wonder =
whether a simple representation (2D, top view, moving color circles?) =
would be fascinating enough? Should the virtual audience see the changes =
from light cone to RL actor and back? (I think it should, but how ...?)
>
>>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)
I do not have any experiences in dealing with TV companies, but I'm =
afraid, satellite TV is too expensive - besides, you are probably given =
only very "narrow" time windows for broadcasting. I appreciate the =
problem of bandwidth, but I still think that i.e. CU-Seeme via the =
Internet is the only thing possible, if you want to incorporate life =
video into your production.
>
>
>>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?
Er, well, I didn't really think of presenting this via a definite action =
on the part of the actors, I just imagined the worst case happening to =
fit into the dramatic concept by switching off the light (cones, too) =
and cranking up the sea-sound, at the same time giving the picture of a =
stirred ocean as the only visual input for the RL audience. As I reread =
Santiago's remark, I feel that this idea questions the role of the =
technicians on the stage - they can't be gods in this case, maybe just =
helpers. The gods themselves would stay invisible. When, after the =
netsplit, the lights go on again and the action on the stage resumes, =
the audience should have understood that not only the people on the =
stage, but they, too, find themselves at the mercy of the Internet as =
some godly instance (sorry for the metaphsysics, I'm reading "Count =
Zero" at the moment).
Greetings from "carnevalesque" (sigh!) Germany,=20
Boris
------ =_NextPart_000_01BC14F7.014E0820
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