we are busy working on the text for ars electronica catalogue, which should
arrive in linz at tuesday 27th latest.
<sigh>
The (rough) structure of the text is as follows
----points to be told------------------------------
starting point ("invention" of the idea)
Theater
Internet (why is it combined with theater)
collective work in development (similar to what was done in the seventies)
the Team
contents of our play: the odyssey by homer , influenced by the
interpretations of Grond and Pellech
the play and its structure
why to do a prototype
time
technique
work in progress (the project DOES already exist)
goal -> 8 stages
----points to be told------------------------------
I am sorry that I can't send the text yet, it is it in its very very first
draft.
I scanned the mail archives today (which was really moving .... felt like
reading old diaries)
and picked out some lines, that i would like to quote in the marginalia (I
will maybe not quote all, and some of them are still too long - they should
not exceed 150 touches), and I am not through the moo archives yet
Could you do me a favor and tell me
if I wrote your name and position in a correct way
If you would like to use other quotes or if you would not like to see you
quoted there
I think I did not found quotes from everybody, perhaps you could send me a
short statement??
thank you very much for your help
tiredly
Mon
-------suggestions for the marginalia---------
if you think "music is dressed silence", then any sound can be music, and
the quality is part of the timbre of the sound.
Santiago Pereson, composer, Argentinean
should the play be performed by each actor on his/her native languaje?
Santiago Pereson, composer, Argentinean
... funds?
Santiago Pereson, composer, Argentinean
the world does NOT speak in English... I think there are more than a
hundred live languages on it... that's what 'worldwide' would mean to me!
Santiago Pereson, composer, Argentinean
i think virtual actors should not be light cones but virtual actors. more
than a beam of light should be within them.
Santiago Pereson, composer, Argentinean
Are the settings, places, times and characters of The Odyssey to be
followed literally or are they merely a starting point from which we can
venture anywhere?
L.H. Grant, playwright, California
the question remains, what is the nature of the virtual representations and
how will they differ between the live stages and the Internet?
L.H. Grant, playwright, California
These thoughts had also occurred to me before I realized that this project
is driven by two forces, an ultimate goal (the performance) and a deadline
L.H. Grant, playwright, California
Will the fates smile upon us or will they react as Poseidon in a rage and
throw us off course, leaving us dashed against the rocks?
In a sense, that is what this project is about, a voyage into the great
unknown, an attempt to push the theatrical possibilities of this
revolutionary medium as far as we can with whatever resources we have at
our disposal.
Long live Oudeis!
L.H. Grant, playwright, California
Here we are, all participating in the gestation of this giant beast known
as The Oudeis Project.
L.H. Grant, playwright, California
As I write this the wind is howling and the snow is coming down...that's
all right though. I can get my skis out.
L.H. Grant, playwright, California
In all of the strange and exotic lands Odysseus journeyed there were two
things that remained constant, the sea and sky.
L.H. Grant, playwright, California
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?
L.H. Grant, playwright, California
Well, I better stop talking and start writing.
L.H. Grant, playwright, California
this is not a project that culminates into a simple, nice, easy to
understand climactic moment. I think it can be much more than that. I
think it can take on a mythological quality of its own.
L.H. Grant, playwright, California
Heavenly Bodies Collide: One director would have to do the blocking for all
of the locations to prevent the collision of heavenly bodies (a real actor
and a light cone) from occurring.
L.H. Grant, playwright, California
"He saw the cities of many men, and he knew their thought"
I couldn't help but see the journey of Odysseus as one of traveling from
Vienna (the city where this idea originated) and then out to the
cities/stages of the world. A different story in each city.
Dan Zellner, playwright and producer, Chicago
each location is providing a piece to the story. Each site telling its
story in its own way but fitting into the larger story. In effect, passing
the story (the performance) from one stage to the next in a journey that
tells the story of a journey.
Dan Zellner, playwright and producer, Chicago
Right now, as I see it, what would an live audience member see? An actor
on a stage (a grid) reacting to lights and sound. Is the Internet necessary
for this? An audience member does not know that the lights are being
controlled remotely from Australia and if they did know this would it
really matter?
Dan Zellner, playwright and producer, Chicago
The Internet is one stage and an actual theater is another. Two audiences
are being addressed but with preference to the live audience. Live actors
and cyberactors. The effective combination of live theatre and the Internet
is very tricky!
Dan Zellner, playwright and producer, Chicago
Audience members are "Gods" for most theatres because they make our shows
come to life. They also buy the tickets/pay our bills ;-)
No Audience=no show.
Dan Zellner, playwright and producer, Chicago
I would worry if there is no concentration on the audience, for without an
audience is there really a performance?
Nina LeNoir assistant professor of theatre, director, Texas
The theatre is changing. Not before our eyes, but in our perception of its
traditional physical space.
Australian Composer and Performer Andrew Garton
one place, speaking only one language. The character of Odysseus should be
a portrayed as universal, the world traveler.
actor, Kinch Glisson
Although, as for speaking to a light, why not have the gods reside in a
certain place all together, sort of a Mt. Olympus? Have them speak to each
other on that stage, but all mortal
characters who communicate with the gods speak to such a light as you
describe...
actor, Kinch Glisson
will the text sent to each sight be translated to it's respective native
tongue? If so then i think hearing the dialogue in the actors native tongue
should be interesting with its own accompanying supertext.
jeff croff writer/director Michigan State University
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.
Boris Karnikowski
I am thinking of a mix of sea gull cries and the aforementioned modem crys
or something of that kind) during switch-overs to the next scene/stage and
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
Boris Karnikowski
We do not want the internet to vanish behind the action we want to show it!
Monika Wunderer, dramaturge, Vienna
I am sorry in the net time is even more shorter so it seems to me that I
haven't talked to you for a long time!
Monika Wunderer, dramaturge, Vienna
Odysseus wants to go home!
Monika Wunderer, dramaturge, Vienna
The need of having an interaction between the stages is that we should
think as the world as one big stage.
Monika Wunderer, dramaturge, Vienna
I always feel this production going through turning points :) wandering
along a small line.
Monika Wunderer, dramaturge, Vienna
The use of our chorus to provide the cyberaudience a possibility of being
present
Monika Wunderer, dramaturge, Vienna
the second idea which came (please hands up who exactly invented this??)
was to let the people who attend via the Internet be the chorus.
Monika Wunderer, dramaturge, Vienna
Big tnx for these amazing thoughts. From the technical point of view:
Everything is possible, it's just a question of money, time and bandwidth.
Rainer Fuegenstein, network specialist
MonikaW says, "ok, what I would like to discuss today is our next meeting
date"
...
BorisK thinks that there are personal limits to globalization ...
GeorgL smiles at Boris.
SantiagoP thinks: 'personal?'
TwylaM-S nods belatedly.
SantiagoP thinks: 'temporal...?'
SantiagoP thinks: 'lyrical...?'
SantiagoP thinks: 'musical...?'
You say, "weekend . . @abort"
SantiagoP nods at mon.
BorisK blushes
GeorgL is amused.
LeeG thinks Monika is trying to set a schedule while everyone waxes
poetic...likes what he
hears
MonikaW says, "hands up for weekend now! I will count it"
MonikaW looks thankfully at lle
SantiagoP says, "ok. i agree, then."
BorisK raises both his hands
Centilivre's_Guest says, "I dont care ..."
GeorgL raises his hand.
Bibiena's_Guest says, "we have everytime t i m e for us"
SantiagoP raises a finger.
DanZ raises hand for Sunday
SantiagoP [to DanZ]: that's cheating!
TwylaM-S raises her hand, but will also raise her hand for weekdays.
GeorgL gets under group pressure and drops his hand again.
MonikaW says, "four and a finger?"
LeeG prefers weekday but weekend okay
*TwylaM-S says, "I really think that it is. It's slated for next spring, I
think."
SantiagoP says "autumn here..." Talk at ATHEMOO*
---------------------------------- alles Theater -------------
Monika Wunderer mailto:wunderer@oudeis.org
phone: ++ 43 (1) 892 35 20
http://st1hobel.phl.univie.ac.at/~wunderer/
http://www.oudeis.org
telnet://moo.hawaii.edu:9999