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. 

Research Q Mutation

How can we use new technology in theatre, avoiding to be just a ghost train of our reality (usual life)?

What is the impact of technology on imagination?


Does showing the mechanics of theatre include or exclude the audience?

How to break the “magic effect” of the technology to create a “dramatic distraction”?

 


How can the machine itself, by it’s “bugs” create its own effects of “troubled perception”?

Research Questions

How do you balance narrative and tech?

Does the audience prefer to be in the play (game mode) or out of it (spectator mode)?

When is it not theatre anymore?

How to make people physically feel the “hidden” part of cybernetics? (ex: how to feel the opression of Google data centers without bveing in front of it?)

How can I use this technology? Maybe the first question is what I want to do?

How can I make a furniture look like it’s alive?

How technology can help for “metamorphosis effects (for example with the body of the a real actor)?

How to create a Ghost on Stage with Technology?

What would be the meaning for me to use technology or digital scenography in my work? Why would it be useful to me? What would be the utility of it?

New Media => New Medium

ou

New Media => Parc d’attraction

 

 

 

Chapter 5 – Hamlet on the Holodeck

It’s a general question but I was wondering what would be the actuel computer games that nowadays are interesting in a new digital approach? I mean, Murray made a kind of an historical review of computer games and I wanted to know if there were some of video games that someone will recommend ?

Do you really think that having agency in  a fiction world (immersive, participatory, first person view…) can help people to feel free to act to change the world ?

In video games the agency given by being a first person player is personal and self-rewarding. What kind of satisfaction do we seek through agency in theater as a group ?