ok for me.
>1.1 ) Language
>so will everybody be speaking in neglish, or a healthy mix of languages
>will be heard all over the globe?
>
>i prefer the second one. it has quite a few advantages over English:
>
>1. the actors will focus on dealing with acting. i think it's hard enough
>to speak to a light bulb... and quite harder if you're not speaking your
>language.
>2. almost all of the audience on RL stages will understand the local
>language, but not all of them may understand English. and besides
>understanding, it will be easier to _enjoy_.
>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?
>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!).
if you put this text 'as is' in the net, it seems as if we didn't decide
about this yet, (and this was decided... wasn't it?)
>3 ) Actors:
> http://iguwnext.tuwien.ac.at/~oudeis/oudeis/abb/abb008.html
>by gupi
>
>3.1 ) Real Actors
>On each venue at least one player is needed to perform. Probably two actors
>will be needed in the most cases because of the quick change of the scenes
>to change costume (see =84The Variations of Hades").
>Theoretically up to 6 actors can interact at the same time (with one being
>on every stage).
then what about the $$$ problem? (two actors per stage means 10 actors
travellung to viena...)
>4.2.3 ) Limitations
><<i'm sitting at home, watching this fantastic internet play, when i
>realize there's a button that reads 'push me to make sound'. ok, i push the
>button. nothing happens. it's not working, maybe a bug in the play's
>website. i won't push it again anymore.>>
>
>this can happen if the spectator tries to make sound and the limit has
>already been reached (remember the limit thing?). Guillermo Vega (another
>non-email partner here) realized that.
>
>now, what can we do to avoid this?
the choros will perform from the 'score' on a screen. this score can have a
limit on the amount of 'dots' to be produced, so when this limit is reached
old dots are erased and new ones added. this would solve the limitation
depicted above, because every sound event will get to the score. what will
happen is that if that sound event, that dot, is old enough to be erased,
and the limit is reached, it will dissapear. but the interaction with the
virtual spectator has been accomplished!
>5 ) 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. Dependent on the goodwill of the lines of the net they stir
>Odysseus, his opponents, the audience - and themselves - through the play
>of the journey.
>
>(------- here is some clear definition still missing. Looking for some
>combination or inspiration by the greek myth of creation: mother earth /
>Eurynome / Night is coming out of the chaos, conceiving the "worldegg" from
>the wind--------)
>
>The gods are visualized by the presence of the working technicians behind
>the stage.
>
>Rainer: I guess we need 2 or 3 technicians on each stage. one for the
>"overall computing", one for lighting and maybe one for other, remaining
>tasks.
>- this doesn't include staff for setting up the whole thing (roadies etc.)
>
>Lee: Not All Gods Are Equal
>There are higher gods and there are minor gods. To carry Monika's anology
>a little further I would say that the technicians are minor gods (no
>offense intended) since they must take their directions from Rainer who is,
>in turn, a minor god (and not yet the emperor of Austria) when compared to
>the dramaturg from whom he must take his directions.
>I could carry this even further and include Gernot but I do not want to
>give him an even greater sense of omnipotence than he already has (only
>kidding, Gernot, don't send a
>lightning bolt to strike me).
>The point I am making is that there are different levels of deities and
>giving them a presence (virtual and real) on the stage is not mutually
>exclusive to the ideas expressed by Monika. For instance, Aeolos and
>Hermes are both minor gods. As now envisioned, isn't their presence going
>to be seen onstage?
i think we also have two kind of gods (two levels?): the tech-gods and the
actor-gods (Aeolos, Hermes), which take part in the play.
>6.1.2 ) Music
>A screen that shows the drawing of the choros and in during the stasimas
>the "picture" of the music heard.
>- visualization of sound (peak level meter, ....)
>or the choros 'score' (remember the dot thing?)
>
>see also
>http://www.geocities.com/Paris/3721/writing.gif
>this is what happens to you when you have those wonderfull ideas... ;)
hey! this was just an anecdote! :)
>6.1.3 ) Text
>A screen that shows the text of the Episodions (in English and in the
>mother tongue of the venue?)
my vote is for both languages.
>6.1.4 )
>A bar graph or some kind of chart that shows the data transmission, the
>"traffic on the information highway"
>- net data (traceroute, ping, throughput, ....)
>
>
>6.2 ) The Lobby
>
>A)
>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.
>
>B)
>A alternative idea came up on saturday (quote Rainer) it is intended to set
>up several "surf stations" in the foyer of the theatre to give the audience
>the possibility to chat with the audience of the other stages after the
>performance, to discuss the performance etc.
>
>since this isn't a mission critical application and only standard internet
>client software (irc, www, cuseeme, ...) is required, it is encouraged to
>use a different operating system & hardware, possibly from other sponsors
>like Apple etc. The rule is: The more, the better; but at least 4 stations
>(computers) should be supplied.
>
>IMHO, these surf stations are optional (no sponsor, no surf stations)
i think both can be used. the camera thing doesn't need TV connections if
we're using pictures: a video camera may be put on every stage and the
'picture' can be updated every few minutes (ever saw this? there's a lot of
this on the net. i'll search for some links and post them).
best,
santiago
mailto:jaco@overnet.com.ar
http://www.geocities.com/Paris/3721/
check oudeis, a world wide odyssey
at http://iguwnext.tuwien.ac.at/~oudeis/
music is dressed silence
