Notes for (planned) conferences/papers [before I got involved with webbing].
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I do not remember when I stopped attending conferences...

Last in Germany, LA...

But never my webpages got near scholarly level.


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2007 : Book of Spectator
Director's POV
TO: Irene Eynat-Confino eynconf@POST.TAU.AC.IL Subject: "Tradition and Innovation in Theatre Design: Concepts, Trends, and Technologies" International Conference on Scenography. June 7-11, Krakow, Poland

The Conference will explore the role of concepts, trends and technologies in preserving traditions and in prompting innovation in shaping the stage for the theatre through the ages.

Director, Set, New Public

With the Virtual Theatre techniques (streaming video), when live show webcasted in real time via Internet to the web-viewers, I placed screens on stage (3 Sisters, 12th Night). Big, small, many -- and of course, the computer screens (including the members of the immidiate audience, same space).

This is a "double live" phenomena: one spectator is in the same time-space, another -- only in the same time. The screens on stage made the chronotope (Bakhtin) of the auduence dual: they see live action and action on the screen (processed by the video crew, what the web-audience see).

The First Revolution in theatre technology (electricity) brought changes in organization of the spectacle (set) without the negation of the traditional architecture, the same with the Second Revolution -- Electronics. The Structure of the Audience in Virtual Theatre must be seen in cinematic terms. Finally, not just film using the theatre heritage, but the theatre uses the eccense of the new mediums (film and TV).

Use of the screens on stage has a long history, including the entire trend of the shadow theatre. From the start we understood that to feed live action on screen makes no sense unless we introduce the "active spectators" -- the film crew as a part of the show.

What we have in the house is the "film public" (and readers) and they have to be transformed into "theatre public" without losing their visual training in new spectacles.

I. Relations with the camera

1. Spectators & the camera: breaking the wall.

2. Audience and the screen: audience as a part of the show.

3. Actor & the camera: closeup.

4. Actor & the screen: mirrow games.

II. Inter-Action

New life (energy) of the show.

III. SpectActors (Film Crew)

The presence of the film-crew on stage is a technical aspect. As long as we can position enough cameras with the set, we have good coverage (we used up to four cameras). But the presence of the film crew had another advantage; in 12th Night we used TV style of interaction (interviews) before/after the show and during the intermission.

Should we use the screen on stage at all? WWWilde experience. Should we keep those kinds of the audience separate?

Maybe we must start with the job of redefining what is SPECTATOR, PUBLIC, AUDIENCE today?

What new challenges does Virtual Theatre introduce to set designers? The same as with a director, actor, costume designer -- film environment! More realism? Not necessary. Even without the storyboad, the cameras know where action is and many segments of the show are left out regardless how many times we webcast the show (every time different).

Summary @ Calls. More about vTheatre @ Virtual Theatre Forum: subscribe!


At UAF we plan to build a permanent vTheatre station at the back of the house (for Editor, monitors, as TV studio). Also, the lighting, how to kill two birds with one stone -- film and stage lighting.
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