Thanks,
Lee
First Draft of Playscript for Oudeis by L.H. Grant
(Prologue and first three episodions)
In writing this playscript I wanted to include all of the crucial elements
that have emerged from the oudeis team. These are as follows:
CRUCIAL ELEMENTS
A world-wide theatrical performance based on The Odyssey by Homer with a
duration of one hour.
Six or seven real locations (RLs) scattered around the globe.
Seven episodions, each based in a different RL.
A cyber-audience participating through the World Wide Web.
Real actors interacting with virtual actors (light cones).
Virtual actors interacting with virtual actors.
Sound of the choros (stasimas).
Cyber-audience interaction in the selection of the stasimas.
Visualization of the stasimas for real audience and cyber-audience.
Visualization of net data for real and cyber-audience.
Use of ocean images/sounds, and choros for transitions and any problems
(netlag) that may occur.
Use of biological sensors so we see how the actor is really feeling as
opposed to acting.
Use of maps to show the locations of Odysseus' journey.
A screen for each location's mother language.
Obviously starting with such strict parameters does increase the challenge
for a writer, especially in this case where what we are trying is so new
and innovative. In addition, many of these elements contain substantial
difficulties which must be overcome in order to have a successful
performance.
ONE HOUR DURATION
Because the performance is slated for one hour and contains seven
episodions each based in a different city, the use of time is very
precious. This means that each episodion must be reduced to its essence
and that redundant actions of no dramatic value must be eliminated. For
instance, in the first episodion it is not necessary for us to watch
Polyphemus eat six men at three different times, two men at one time will
be sufficient. The same is true for when he milks his sheep. Furthermore,
for dramatic effect, the use of time must be telescoped. That means that
certain events that took place over several days will now occur within a
smaller time frame. Again, using the first episodion as an example,
instead of having Polyphemus come to his cave, discover Odysseus, eat two
of his men, fall asleep, leave the cave, return to the cave, get drunk and
have his eye gored by Odysseus, all events will now occur within a single
time frame. The episodion remains true to Homer's Odyssey but it now has
much more dramatic impact.
VIRTUAL ACTORS (light cones)
This was perhaps the most difficult of the challenges I faced. How to
bring life to the light cones? But there were additional problems as well.
For instance, how do you show a real actor handing a virtual actor a bowl
of wine? Obviously the virtual actor has no hands...a dilemma...but one
that has been resolved. Also, how do you show a real actor making love
with a virtual actor or even more problematic, a virtual actor making love
with another virtual actor? Dilemmas all, but ones that I believe have
been successfully resolved in this script.
To begin with, in the prologue I show the transformation of man into light
cone in a way that makes the association very clear to the audience. Also,
video is used in way to greatly enhance the virtual actors and to
accomplish certain things which are beyond their capabilities. In
addition, the light cones will modulate in intensity when speaking and
there are some rather interesting special effects which give the light
cones an extraordinary dimension...pay special attention to Polyphemus when
he eats several of Odysseus' companions, and Circe when she changes
Odysseus' men into swine and when she makes love with Odysseus.
Now, in episodions one and three, Odysseus has been joined on-stage by
several companions. This is necessary because in episodion one we need to
see Polyphemus cruelly eat some of Odysseus' men, a mere description of
this event is woefully inadequate. The same is true in episodion three
when Circe transforms several of the companions into swine. It must be
shown not described. That is why it is important to have the companions
join Odysseus on-stage. However, this need not create the burden of having
more than two actors performing at once. As you will see, in these
situations the companions have no dialogue and can remain completely
virtual on all stages requiring no actors only light cones. With their
positions preprogrammed they will not present any technical problems.
This, of course, will also have no effect on whether the light cones
representing the real actors are preprogrammed or moved by sensor commands
transmitted through the net.
FOUR SCREENS
It was important to have some firm idea of the design of the stage when
writing this script so I used Gernot's concept of the stage as sketched by
Santiago. In this sketch there are four large screens toward the back of
the stage. I have numbered them from one to four starting from left to
right. These screens will be used for their original purposes which was to
show the stasimas, maps, biological sensor data, and net data. However,
they will not be used for text.
Additionally, they will be used to give life to the light cones, to provide
stage setting, to emphasize dramatic moments, and to show that which can
not be shown in any other way.
ELEVATED SCREEN
In addition to the four screens I have added an elevated screen to the
playscript. This screen will be centered in the back of the stage and
slightly elevated above the other four screens. It will primarily be used
for each locations mother language. This will ensure that no actors,
objects, smoke, or etc., get in the way of the audience's view. Also, in
moments of high drama this screen will be used to great effect, such as
when Polyphemus loses his eye and when lightning bolts are used to signify
a horrible storm.
SOUND OF ODYSSEUS' HEARTBEAT
There were several considerations I faced when dealing with the biological
sensors, not the least of which was the availability and practicality of
the equipment. So, I came up with an enhancement to the sensors which
could also serve as a replacement if we find the sensors to be impractical.
This new idea is the sound of Odysseus' heart beating or actually the
heartbeats of the actors playing Odysseus. My feeling is that showing just
the visualization of the sensor readings is not enough. Hearing the actual
heartbeat, its speed, its power, and having it transmitted through the web
to all of the stages, that provides drama, highlights very important
moments, and also serves to give the audience an absolute and unequivocal
view of what the actor playing Odysseus is REALLY feeling.
Best of all, this can be accomplished easily with minimal financial and
technical demands. All we have to do is place an extremely sensitive
miniature microphone over the heart of each actor playing Odysseus. The
sound of each actor's heart can then be transmitted with the same ease as
their voice.
In the script I have used the heartbeat to both enhance the visualization
of the sensor readings and as a standalone effect. I believe it works well
in both instances. And, if for any reason, we find that the biological
sensors are not useable, we will still accomplish virtually everything we
wanted with the sound of the heartbeat.
Also, I thought it worked best to hear only the sound of Odysseus'
heartbeat and not the others. After all, we do live The Odyssey through
Odysseus and the impact is much greater if undiluted.
STAGE SETTING
The stage setting provided a unique problem. Since there are six or seven
different real locations and each one represents a different place in the
journey of Odysseus, it would be logical to assume that each RL would be
designed for its particular destination of Odysseus. The problem is every
RL is used as a stage for every episodion (i.e., every action and spoken
word is seen and heard on all stages). Therefore, each RL must properly
set the scene for each episodion if the performance is to remain coherent.
As you will see when you read the playscript this issue was resolved
through the use of the screens. At the same time the option remains for
each location to have its own stage design if that is found to be
desirable.
LANGUAGE
My aim was to make the language in the script simple, precise and clear. I
didn't want to use dialogue alone to propel the story but all of the
elements at my disposal, including several new ones, to create this
playscript.
Additionally, using the dialogue in this manner should make translation
relatively simple.
CONSISTENCY AMONG REAL LOCATIONS
In all RL stages all screens and audio will be the same with the exceptions
of translated text and any strictly local generated sights and sounds.
VIDEO
All video and still pictures used in the playscript can be created and
gathered before the performance. News organizations and archives will have
an abundance of material. Furthermore, the scenes in which images of our
actors are used can be videotaped during rehearsals and then edited for the
performance.
Since this video will be predetermined each location will be properly
outfitted and there will be no need to transmit it over the net.
EVERYTHING IS DOABLE
Everything in this script is eminently doable. If there are any questions
concerning anything that you feel needs further explanation, let me know
and I well try to provide an answer.
PERFORMANCE AS SEEN ON THE WORLD-WIDE WEB
I have incorporated my playscript into a design for the World Wide Web.
Because of time constraints I have not been able to write down all of my
thoughts on this subject but I will provide further information as soon as
possible.
PROLOGUE
The prologue is used to put the journey of Odysseus in perspective and also
to introduce the audience to some of the techniques that will be used.
The prologue will be the same on every RL stage and will present the actor
playing Odysseus to each local audience.
As stated before, it will also show the transfer of man into light cone, as
well as put the choros, maps, biological sensors and heartbeat all into
play.
EPISODION 1
In this episodion I wanted to emphasize the action and adventure of the
confrontation between Odysseus and Polyphemus. In fact, just after
Polyphemus loses his eye the stage will erupt into a frenetic ballet of
real actors, light cones, images and sounds. Everything will come into
play and I believe it will have quite a dramatic affect on the audiences.
Also, a theme that comes across loud and clear in this story is the fact
that Odysseus and his men come to the land of the Cyclopes as visitors,
refugees of war. When they arrive, instead of being treated with
graciousness they are dealt with most inhospitably. This has parallels
through all of recorded history and is particularly relevant in this day
and age when refugees are treated with scorn all across the world, Mexicans
in California, Turks in Germany, Algerians in France, etc., etc. It does
not take a stretch of the imagination to see Polyphemus as a brutal
xenophobe because that is what he clearly is.
EPISODION 2
In this episodion there is very little dramatic action between the two main
characters, Odysseus and Aeolos, so I chose to emphasize the humor in the
situation of Aeolos being a minor deity.
In addition, in the middle of the episodion there is a very big storm
sequence in which the audience will clearly feel as if they are in the
midst of a terrifying storm.
EPISODION 3
In this episodion we see the metamorphosis of man to swine and back again.
Also, we see the incredibly sensual meeting of Odysseus and Circe shown in
a way that greatly enhances the eroticism of their lovemaking.
REMEMBER THIS IS A FIRST DRAFT!
In writing this draft I had to deal with many technical as well as creative
choices. Now that I have resolved many of these difficulties it is my
intention to concentrate more fully on the artistic side as I complete the
remaining episodions and write another draft. It is my understanding that
I will be solely responsible for any rewrites of the playscript. However,
I welcome all comments and suggestions. Again, if you have any questions
feel free to email me directly or send them to the oudeis-idea and
oudeis-tech lists.
L.H. Grant