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 Odysseusí journey.
- A screen for each locationís 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 Homerís 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 Odysseusí companions,
and Circe when she changes Odysseusí 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 Odysseusí 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 Gernotís 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 audienceís 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 Odysseusí 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 actorís 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 Odysseusí 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 didnít 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 All 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