great to hear that you could manage to follow up our discussion and cool to
hear that you might get connected with Dan, are you located in Chicago as
well?
At 15:46 04.03.97 -0500, Cat Hebert wrote:
>Although there are certain aspects of the suggested performance setup
>I'm still not clear about after reading through the technical threads, I
>thought I'd give you an "outsider" perspective of the project as I
>understand it.
tnx for it that helps to clear things up for us as well
>General Purpose
>It appears that the purpose is to give the audience a multi-national
>multi-lingual experience of the Odyssey using high-speed (T3 or
>backbone?) internet connectivity using specialized video/audio software
>and ?hardware.
a main point of the concept (a still discussed point) is that we will NOT
use video software, because we want to find another - theatrical - way of
telling a story via a long world wide distance
>The main performers will be in different cities and their performances
>will be presented in the various cities (bluescreen/chroma key/separate
>screens/?/not clear) on projected video screens. Light cones will
>replace the "missing" performers in the live stages. They will either
>speak in their native language or in English. If the segment is not in
>their native language, it will be translated and projected in
>subtitle/supertitles. The chorus will be in (?a single city) and will
>speak in Greek. Music is being composed to accompany the entire
>experience, which is expected to be (???) long.
>
the screens will only be used additional to the performance. The main
performance is the light cones replacing the missing performers. The
screens are used to demonstrate _where_ this missing actor is placed at
this episodion (where odysseus has traveled to), so maybe a map with points
or whatever
what will be on the text screen is a huge discussion currently
the choros will be the music santiago and his group are currently
composing, which can be influenced by the audience participating on the
eighth stage = via the Internet, in a certain way, so that they form the
choros
length of the play?
we thought of one hour - with the net lags longer for sure
>What the Audience will get out of it.
>-- Involvement in an international/hi-tech theatrical performance
>-- Experiencing a true odyssey: through different cultures and languages
*partly nod for the first one, I would call it - a cultural / theatrical
interested audience, that additional gets an experience of the Internet
* true odyssey? partly yes, but not through the different cultures but
through the experience of what storms / problems /cruelty you can meat on
your journey (while than staying 7 years with a beautiful woman ;)
>
>MY OUTSIDER THOUGHTS ABOUT OUEDIS
>1) The more "local" involvement, the better, since what is being "sold"
>is a very international experience.
>:::Each country which is "fully involved" should have a major performer.
>>From the involvement point of view, I would have each major site have
>their own chorus -- whether or not it is being done in Greek. In this
>way each major site has a major performer AND a chorus. So they really
>become involved as a city -- which should be more helpful for funding as
>well.
>
The choros is explained on our websites
http://iguwnext.tuwien.ac.at/~oudeis/choros.html
With the local involvement I agree definitely. Odysseus will visit all the
cities that have a venue, and they will have to host the counterpart of
episodia as well.
We also try to find out which city should stage which counterpart
(=Polyphem, calypso, circe .....) of odysseus so which venue would be for
example Hades or Island of the winds. I mean we have to have a reason why
odysseus travels there.
>2)An international Odyssey performed in a single language goes against
>the most powerful aspect of the project: the worldwide journey
>:::Audiences are quite used to reading subtitles (especially if the
>titles are big enough and sequenced properly and they can hear the
>original language). And... most countries have international,
>theatergoing populations who will understand more than one language.
>This is EXCITING. Multiple languages/multiple cultures all unified in a
>single experience. (Subtitles can be projected using a slide projected
>if necessary.)
>
>3) The light cones will be distracting to the audience. Period. Put the
>live-major-performers to one side of the main screen(s). If the entire
>performance is represented on the screen(s) they get to see both
>happening (with a slight lag).
that 's a misunderstanding, because as I stated above the performance will
only be seen through the interaction between light cones and real actors
>4) Involve the live audience if at all possible. Teach them a piece of
>the chorus and have them participate. (If you have a two camera
>operation, one can be used for the chorus/audience combination.) They'll
>LOVE it. (It was the most popular part of our AMTF-Crosswaves
>presentation in March 96.)
>
:-)
could you tell us more about this festival (I am writing about the MOO part
in my thesis) what where your experiences? what did you expect , and what
came out?
>4) The net lag noise idea is excellent -- if it could be accompanied by
>a stylized visual noise sequence -- something Homeric, it could be most
>interesting. I would PLAN on net lag as part of the performance,
>inserting the noise deliberately at places where you know that
>"difficult" net connections are almost certain to occur.
>
>5) Major problems. If any location goes totally offline, a single site
>(Vienna, I assume) should be prepared to take over. You simply can't
>wait until things get better. This calls for constant alternative
>communication between the stage managers using separate software and, if
>possible, constant conference telephone links.
>
>5) If the experience is "delayed" or "rehearsed" until 1998, how about
>having some additional cities "ghost" the experience -- just watching
>the performance on screens. It could add to the funding revenue.
>
well the performance can be seen on every computer with internetconnection
(8th stage) but we also thought of arranging events in some places to have
people around a screen together watching
boris?
>6) I've sketched out thoughts about my notions of what an Ouedis stage
>might look like. It is quite simple, but the audience won't be
>distracted from watching the international event.
>
>http://www.virtualdrama.com/cat/misc/ouedis.htm
will curiously look at it at once :-)
bye for now
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)