I do find interesting it is great that both Lee and Santiago are speaking
of mixing odysseus with babel - and I agree with both:
there is the problem of telling the story with mixed language, so that the
story would probably not be told via dialogue. It would be told by eithere:
screens
or movements / playing
if we use 1 language - so english is the first I think of as well and it is
not my mother tongue, it is just the most frequently used one, georg said
the other day that "soon we all speak english" , and he might not be that
wrong
so we have to think of
understandability of our play
and intention of what are we want to tell with a multilingual performance
At 11:47 04.03.97 -0800, L.H. Grant wrote:
>I was going to write Rainer at oudeis-tech on this but wanted to wait until
>next week because of his schedule. Anyway, it seems to me that our options
>depend on the nature of the problem. For instance, if we have a system
>wide failure that affects all of the RL stages the decision would appear to
>be easier to make because everyone would be in the same boat (oudeis ship,
>Mon). In that case, netlag storms would definitely be a great way to go.
next is the transportation of the audio data , this is a technical question
but has to be taken into account here as well:
maybe you will not understand a single word on the stages, because of the
bad transmission? that would be a reason for using the mother tongue,
because every stage will understand the real actor and what comes over the
net is a foreign language mixed with the bad quality of the net, so words
does not really matter any more. ...?
anyway I think the idea of using subtitles (not a scrolling screen) - as I
think Cat Hebert suggested - would be easier to read for the audience?
- oah the boat is under construction :-) you can reach it by @go
Mohnstrudel and then east
At 11:47 04.03.97 -0800, L.H. Grant wrote:
>However, if a problem were to occur at only one or two locations, the
>decision would then be much more difficult because we would have to decide
>whether to hold up all of the locations by showing netlag storms until the
>problems were resolved locally. In that case, it may be more advantageous
>to continue with the performance while the local stage experiencing the
>problem went with preprogrammed material. The local stages experiencing
>difficulties could also switch to netlag storms while the other locations
>continue with the performance but in that event when the local difficulty
>is resolved and the location rejoins the performance they will have lost
>the part of the performance that happened during their difficulties.
>
>It's possible that depending on whatever problem arises at the time
>(hopefully none) it will have to be the director's decision on which option
>to use?
>
I think if a local problem arises that effects the real actor, the whole
performance will stop sooner or later for all stages - because they wont
get the information from the RL actor any more
if the virtual actor is somehow gone (light has gone off) maybe we should
continue with the other stages and try to fix it locally
in between we could have the playtext scrolling and showing a net storm (
no we need something more inventive here, I just feel not very creative at
the moment to decide what)
anyhow if it is a "bigger" problem the technicians and the stage managers
should be linked together to decide in certain moments what to do
but I think they can "find" together when the choros is playing? so that it
would be - to stop playing on one stage - fix the problem - wait for the
next episodion ...
we have to continue talking about the "realisation" of the net storms
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/
"Wenn das was ich liebe bloss in Australien waere. ...
Waehrend das, was ich suche", sagte Belacqua
und verfolgte, so moechte es beinah scheinen, seine eigenen Gedanken,
"nirgendwo ist, so weit ich sehen kann."
"Vobiscum", fluesterte Cappa, "hab' ich recht?"
(S. Beckett)