Chapter 4 – Hamlet on the Holodeck

If immersion and participation are the most sophisticated tools, what is the minimal unit to enter a world/a narrative through our imagination ?

What would be essential to keep as those tools in a formal theater without having to do immersive theater or to totally change the definition of theater?

Why immersive world is connected with digital world (fake world) ?

What is the evolution (from a dramaturgic point of view) from the ideaof catharsis and the use of “transitional” tools applicated to the sceen?

Workshop I: Stage Direction Design

PART I:

1. “Research”

Read your background information and discuss as needed

2. “Design”

Come up with three quick ideas for staging this using a new technology of your choosing. You won’t be building (this time) so don’t limit it to what you know, although you should limit it to what is possible.  You may interpret this as either three different approaches or three different technologies, depending on what makes sense to you

3. “Visualize”

Sketch or otherwise quickly visualize your three ideas. You will be sharing with the class, but don’t worry too much about being perfect, just get the idea across

– How would you stage Ionesco’s Rhinoceros ? Our 3 staging ideas rely on how to interpret and represent the rhinoceros.

1. Absent to the eye, present to the ear. Everytime someone turns into a rhino, the person leaves the stage. In the end Berenger is left all alone and the rhinos come back through sound effects, surrounding the audience.

3. “Naturalistic” rhinos. The actors would actually turn into rhinos with costumes and start behaving like animals while altering the environment, turning it into a jungle by adding setting elements.

2. Symbolized rhinos. The rhinos would be represented by suppressing the actors’ ability to communicate with the non-rhino actors. Their voices would be altered through a microphone, turning their words into gibberish or animal sounds.