I planned to work on "Story of David Z." (hyper-drama) -- but now I am not sure that I will have time to do it.
"Trinity" (HIM) is another vTheatre project.
2003 Don Juan
Virtual Theatres: An Introduction by Gabriella Giannachi; Routledge, 2004 - 1: Hypertextualities
- 2: Cyborg Theatre
- 3: The (Re-)Creation of Nature
- 4: Performing Through the Hypersurface
- 5: Towards an Aesthetic of Virtual Reality
Cyborg theatre is an art form that uses cybernetics as part of its method and practice.
[conclusion 151]: There is not one virtual theatre, but many. This is not only because of the variety of virtual art forms that can claim a certain degree of theatricality, but because the medium of virtuality itself acts as a theatre, a viewing point of the real. Increasingly, scientists endeavouring to explore the mysteries of human life, creating transportation that could take human beings to other worlds, or even simply creating better products for everyday consumption, are adopting virtual reality as a means of testing the conditions of the real. Thus, virtual reality is increasingly utilised as a laboratory to recreate the real. In this sense, virtuality is not only representing the main 'other' to the real, an other that is able to simulate the real while maintaining its difference from it, but can stand in for the real, thereby ultimately representing a perfect rehearsal space for it. Hence, virtual reality is both in the real and a simulation of the real. In other words, it is both the practice of the real and its theatre. And it is its paradoxical nature, caused by the contradiction between its ontology and its aesthetic, that makes it such an important site for both life and art.
Yet in hypertext not only is the reader the explorer, and hence the true author of the work of art, but also their presence is written into the work of art. The reader is therefore inside the meta-architecture, inside the work of art, and it is through the reader's 'interaction' with the text that the work of art manifests itself. (Giannachi 16)
Drama among the other literary sisters was the hypertextual from the start. It's unfinished in principle (take another look at any play). It's always Open Text Structure. It's a notation of action.
But some playscripts are "hyper" than other. The good and great plays are. They ask for PERFORMANCE!
Only after a full year of dealing with vShows I understood that my teenage love for James Joyce was this hypertext principle he tried to introduced in full to the novel.
Wait! Take a look at the four books of the New Testament!
The same story is told four times!
What an idea!
One 'experiences a hypertext as a changeable montage' (Landow in Lunenfeld 2001:170), and structures that help us visualise what is behind the screen include a network, a tree diagram, a web or a nest of Chinese boxes (Delany and Landow 1992:4). In fact, most hypertextual browsers and symbols imply the notion of travel - Internet Explorer; Netscape; Net; anchor; surfing the Net, and so on - so it is therefore unsurprising that the discourses about the writing and reading of hypertext are mainly about orientation, and that surfing the Net implies the maintenance of a certain equilibrium and the capacity of finding one's way back home. Thus, hypertext is a virtual Odyssey in which the points of departure and arrival coincide. [16-17]
... 'we are seeing the beginnings of a "generalized arrival" whereby everything arrives without having to leave, the nineteenth-century elimination of the journey (that is, of the space interval and of time) combining with the abolition of departure at the end of the twentieth, the journey thereby losing its successive components and being overtaken by arrival alone' (Virilio 1997:16, original emphases). Through virtual reality, inertia has come to represent the defining condition of modernity (Virilio 2000).