Pub Date : 2021-04-03DOI: 10.1080/23322551.2021.1919488
Dennis Del Favero, Susanne Thurow, Lawrence Wallen
ABSTRACT This article introduces iDesign, a novel full-body immersive 3D digital set modelling system currently in joint development by the Sydney Theatre Company, the University of New South Wales’ iCinema Centre, the University of Technology Sydney, and the National Institute for Dramatic Art (Australia; 2018–21). Deploying a visualisation pipeline that utilises a 3D digital environment that remotely located creatives can share, iDesign enables collaborative ideation, testing and iteration of production design concepts in real time, to be supported by an artificially intelligent (AI) system. The article contextualises iDesign’s underpinning aesthetic rationale by reviewing the functionalities and ontological differences of physical and virtual models as epistemological conduits and representative objects. It outlines the system’s key features and capabilities and discusses them in relation to other visualisation approaches currently trialled across the entertainment industry, such as Virtual Reality (VR), 3D modelling suites and pre-visualisation software. Considering the system’s archival capabilities, the text further sketches iDesign’s value as an educational platform and closes with a reflection on the impacts of digital technologies on scenographic practice.
{"title":"The iDesign platform: immersive intelligent aesthetics for scenographic modelling","authors":"Dennis Del Favero, Susanne Thurow, Lawrence Wallen","doi":"10.1080/23322551.2021.1919488","DOIUrl":"https://doi.org/10.1080/23322551.2021.1919488","url":null,"abstract":"ABSTRACT This article introduces iDesign, a novel full-body immersive 3D digital set modelling system currently in joint development by the Sydney Theatre Company, the University of New South Wales’ iCinema Centre, the University of Technology Sydney, and the National Institute for Dramatic Art (Australia; 2018–21). Deploying a visualisation pipeline that utilises a 3D digital environment that remotely located creatives can share, iDesign enables collaborative ideation, testing and iteration of production design concepts in real time, to be supported by an artificially intelligent (AI) system. The article contextualises iDesign’s underpinning aesthetic rationale by reviewing the functionalities and ontological differences of physical and virtual models as epistemological conduits and representative objects. It outlines the system’s key features and capabilities and discusses them in relation to other visualisation approaches currently trialled across the entertainment industry, such as Virtual Reality (VR), 3D modelling suites and pre-visualisation software. Considering the system’s archival capabilities, the text further sketches iDesign’s value as an educational platform and closes with a reflection on the impacts of digital technologies on scenographic practice.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"71 1","pages":"82 - 95"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73879202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/23322551.2021.1936939
Gabriella Kiss
ABSTRACT In this short article and accompanying visual essay, I trace the development and implementation of a dialogic site-specific performance in public space. I propose a scenographic method for how to make an empty, abandoned urban public space ‘speak’: how to choose the site for the performance and how to construct a narrative based on the history of the site. The actual ‘set’ of the performance, the analogue AR (Augmented Reality) boxes, played with some of the central features of AR technology. These characteristics were, in several respects, consistent with the site-specific performance characteristics presented in the case study. The concept raised in the study builds on the meeting points of these two. The performance created a blurring of real and virtual space through an analogue technique.
{"title":"A case study of an autonomous model between a real and a virtual environment","authors":"Gabriella Kiss","doi":"10.1080/23322551.2021.1936939","DOIUrl":"https://doi.org/10.1080/23322551.2021.1936939","url":null,"abstract":"ABSTRACT In this short article and accompanying visual essay, I trace the development and implementation of a dialogic site-specific performance in public space. I propose a scenographic method for how to make an empty, abandoned urban public space ‘speak’: how to choose the site for the performance and how to construct a narrative based on the history of the site. The actual ‘set’ of the performance, the analogue AR (Augmented Reality) boxes, played with some of the central features of AR technology. These characteristics were, in several respects, consistent with the site-specific performance characteristics presented in the case study. The concept raised in the study builds on the meeting points of these two. The performance created a blurring of real and virtual space through an analogue technique.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"20 1","pages":"39 - 49"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83420732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/23322551.2021.1925471
Pavel Drábek
{"title":"Režisér jako koncept: Tvorba operního režiséra Miloše Wasserbauera v padesátých a šedesátých letech 20. století [The director as a concept: Miloš Wasserbauer’s opera productions of the 1950s and 1960s]","authors":"Pavel Drábek","doi":"10.1080/23322551.2021.1925471","DOIUrl":"https://doi.org/10.1080/23322551.2021.1925471","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"639 1","pages":"142 - 145"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77094145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/23322551.2021.1940682
Chris Ziegler
ABSTRACT ODO is a journey through worlds of imagination inspired by Antoine de Saint-Exupéry’s Little Prince and Stanley Kubrick’s “HAL9000” in 2001: A Space Odyssey. An AI character lives on stage as in Plato’s Cave. ODO can’t leave the stage; ODO is offline … Every visitor to the installation means the world to him/her/it. It collects stories and narratives to understand how our world works. ODO is theatre, opera and choreographic architecture. The stage is the orchestra pit of an ancient Greek tragedy where a chorus of three to five audience members interrogates the main character. ODO is a world builder who creates imaginary worlds on stage using a robotic light matrix, moving LEDs like pixels in space. ODO continues through the storyline of the piece with verbal and physical dialogues. ODO uses AI algorithms – Natural Language Processing (NLP) – to conduct natural conversations with the audience and Deep Learning to create Haiku poems and music. ODO has sensors to hear and see the audience. ODO uses Face Recognition Algorithms and Crowd Cluster Tools to understand emotions and physical behaviour. With all means possible, ODO tries to get “in touch” with us!
{"title":"No Body lives here (ODO). 2020","authors":"Chris Ziegler","doi":"10.1080/23322551.2021.1940682","DOIUrl":"https://doi.org/10.1080/23322551.2021.1940682","url":null,"abstract":"ABSTRACT ODO is a journey through worlds of imagination inspired by Antoine de Saint-Exupéry’s Little Prince and Stanley Kubrick’s “HAL9000” in 2001: A Space Odyssey. An AI character lives on stage as in Plato’s Cave. ODO can’t leave the stage; ODO is offline … Every visitor to the installation means the world to him/her/it. It collects stories and narratives to understand how our world works. ODO is theatre, opera and choreographic architecture. The stage is the orchestra pit of an ancient Greek tragedy where a chorus of three to five audience members interrogates the main character. ODO is a world builder who creates imaginary worlds on stage using a robotic light matrix, moving LEDs like pixels in space. ODO continues through the storyline of the piece with verbal and physical dialogues. ODO uses AI algorithms – Natural Language Processing (NLP) – to conduct natural conversations with the audience and Deep Learning to create Haiku poems and music. ODO has sensors to hear and see the audience. ODO uses Face Recognition Algorithms and Crowd Cluster Tools to understand emotions and physical behaviour. With all means possible, ODO tries to get “in touch” with us!","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"21 1","pages":"50 - 60"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82068215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/23322551.2021.1935625
Cat Fergusson Baugh
ABSTRACT In this article I will expand on work presented in ‘Haptic Insights: Model Making as Historical Methodology’ (Fergusson Baugh 2018) and demonstrate the value of the methodologies proposed there on a case study reconstruction of the second Drury Lane theatre (1674) initially prepared for the THEATRON project. I will explore the history of this building through a procedural engagement with source material and the development of a virtual model. I will also explore how an apparently inconsequential inconsistency in the section can account for Langhans, Mulling and Koenig’s disagreement (and resolve which of them was right), and how a process of computer modelling suggests a haptic insight into a more human history of a drawing that has been forcefully torn up but retained and carefully conserved for 350 years.
{"title":"“Notes and Queries … ” – That Wren drawing","authors":"Cat Fergusson Baugh","doi":"10.1080/23322551.2021.1935625","DOIUrl":"https://doi.org/10.1080/23322551.2021.1935625","url":null,"abstract":"ABSTRACT In this article I will expand on work presented in ‘Haptic Insights: Model Making as Historical Methodology’ (Fergusson Baugh 2018) and demonstrate the value of the methodologies proposed there on a case study reconstruction of the second Drury Lane theatre (1674) initially prepared for the THEATRON project. I will explore the history of this building through a procedural engagement with source material and the development of a virtual model. I will also explore how an apparently inconsequential inconsistency in the section can account for Langhans, Mulling and Koenig’s disagreement (and resolve which of them was right), and how a process of computer modelling suggests a haptic insight into a more human history of a drawing that has been forcefully torn up but retained and carefully conserved for 350 years.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"4 1","pages":"24 - 38"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83753434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/23322551.2021.1925469
J. Bollen, Julie Holledge, J. Tompkins
ABSTRACT So much time, research and effort are expended in accurately developing virtual models of theatres, but what happens when they are completed? It is not automatically clear how one uses a virtual model for research to generate new knowledge about performance. Our research has recreated a series of theatres, which no longer exist, in virtual form in order to visualise elements of performance and the social relations that shape and are shaped by a theatre venue. These international theatres include the Rose in London from the late 1500s, the Bergen Theatre from 1850, the Queen’s Theatre in Adelaide from 1841, an itinerant bamboo theatre for performing Cantonese opera along the Pearl River Delta in China and a tent version used to house the same form in the goldfields of Victoria, and the showroom at the Stardust Hotel in Las Vegas built in the late 1950s. This article has two aspects: the first outlines our work with actors in workshops to explore how the spatial dynamics of the models can inform knowledge of acting traditions and audience response appropriate to each venue. The second explores some of the challenges of installing era-specific lighting and sound technology in several of the venue models.
{"title":"Putting virtual theatre models to work: ‘virtual praxis’ for performance research in theatre history","authors":"J. Bollen, Julie Holledge, J. Tompkins","doi":"10.1080/23322551.2021.1925469","DOIUrl":"https://doi.org/10.1080/23322551.2021.1925469","url":null,"abstract":"ABSTRACT So much time, research and effort are expended in accurately developing virtual models of theatres, but what happens when they are completed? It is not automatically clear how one uses a virtual model for research to generate new knowledge about performance. Our research has recreated a series of theatres, which no longer exist, in virtual form in order to visualise elements of performance and the social relations that shape and are shaped by a theatre venue. These international theatres include the Rose in London from the late 1500s, the Bergen Theatre from 1850, the Queen’s Theatre in Adelaide from 1841, an itinerant bamboo theatre for performing Cantonese opera along the Pearl River Delta in China and a tent version used to house the same form in the goldfields of Victoria, and the showroom at the Stardust Hotel in Las Vegas built in the late 1950s. This article has two aspects: the first outlines our work with actors in workshops to explore how the spatial dynamics of the models can inform knowledge of acting traditions and audience response appropriate to each venue. The second explores some of the challenges of installing era-specific lighting and sound technology in several of the venue models.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"161 1","pages":"6 - 23"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73597653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/23322551.2021.1940455
R. Hann
ABSTRACT This article is an outcome of my investigations into the use of computer-based 3D visualization as a research methodology. Frederick Kiesler’s unrealized Endless Theatre (1916–26) project is employed as a case study for articulating ‘paradata’ in heritage visualization. This builds upon the principles of knowledge transparency outlined within the London Charter (2008). My overall objective for this article is to argue paradata as a critical framework for reading and designing heritage visualization. This is particularly focused on the procedural insights from a modeller’s perspective and practical techniques for ‘thick depiction’, including a proposal for ‘paradata maps’. To evidence these positions, the article details two contextual findings on the Endless Theatre project – concerning the principles of ‘continuous movement’ and ‘audience seating’ – that emerged through the visualization process itself. The article concludes with an appraisal of paradata as a critical framework and computer-based 3D visualization as a historiographic method that, it argues, has offered new insights into Kiesler’s unrealized theatre project.
{"title":"Modelling Kiesler’s Endless Theatre: approaches to paradata for heritage visualization","authors":"R. Hann","doi":"10.1080/23322551.2021.1940455","DOIUrl":"https://doi.org/10.1080/23322551.2021.1940455","url":null,"abstract":"ABSTRACT This article is an outcome of my investigations into the use of computer-based 3D visualization as a research methodology. Frederick Kiesler’s unrealized Endless Theatre (1916–26) project is employed as a case study for articulating ‘paradata’ in heritage visualization. This builds upon the principles of knowledge transparency outlined within the London Charter (2008). My overall objective for this article is to argue paradata as a critical framework for reading and designing heritage visualization. This is particularly focused on the procedural insights from a modeller’s perspective and practical techniques for ‘thick depiction’, including a proposal for ‘paradata maps’. To evidence these positions, the article details two contextual findings on the Endless Theatre project – concerning the principles of ‘continuous movement’ and ‘audience seating’ – that emerged through the visualization process itself. The article concludes with an appraisal of paradata as a critical framework and computer-based 3D visualization as a historiographic method that, it argues, has offered new insights into Kiesler’s unrealized theatre project.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"22 1","pages":"96 - 115"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80833381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/23322551.2021.1925470
T. Brejzek, Lawrence Wallen
ABSTRACT This article forms part of a larger research project that examines the distinct genealogies and unique properties of the theatre and architecture model. The current research builds on the authors’ earlier consideration of the physical model and shifts its focus of observation to the virtual model and the resultant virtual worlds. In The Model as Performance (Bloomsbury, 2018), we identify the model’s performative and epistemic qualities and argue for the unique capacity of the physical model to enable and provoke acts of cosmopoiesis or ‘worldmaking’ and ‘worldmodelling’. With its focus on the virtual model, this current project aims to develop two interrelated and hypothetical strands of inquiry. The first one ascertains the virtual model’s unique capacity for worldmaking. The other isolates its performative and epistemic qualities. Both require a positioning towards the physical and virtual model to articulate their elements of interconnection and distinction. Equally, both aspects demand the model’s theoretical positioning towards the ‘real’.
{"title":"Worldmaking through the virtual model","authors":"T. Brejzek, Lawrence Wallen","doi":"10.1080/23322551.2021.1925470","DOIUrl":"https://doi.org/10.1080/23322551.2021.1925470","url":null,"abstract":"ABSTRACT This article forms part of a larger research project that examines the distinct genealogies and unique properties of the theatre and architecture model. The current research builds on the authors’ earlier consideration of the physical model and shifts its focus of observation to the virtual model and the resultant virtual worlds. In The Model as Performance (Bloomsbury, 2018), we identify the model’s performative and epistemic qualities and argue for the unique capacity of the physical model to enable and provoke acts of cosmopoiesis or ‘worldmaking’ and ‘worldmodelling’. With its focus on the virtual model, this current project aims to develop two interrelated and hypothetical strands of inquiry. The first one ascertains the virtual model’s unique capacity for worldmaking. The other isolates its performative and epistemic qualities. Both require a positioning towards the physical and virtual model to articulate their elements of interconnection and distinction. Equally, both aspects demand the model’s theoretical positioning towards the ‘real’.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"37 1","pages":"116 - 133"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88159772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/23322551.2020.1856304
A. Filmer, M. Brookes, Z. Laughlin, M. Pearson
{"title":"Report from…Wales The Ever After Project: considering theatre and performance in the era of Covid-19","authors":"A. Filmer, M. Brookes, Z. Laughlin, M. Pearson","doi":"10.1080/23322551.2020.1856304","DOIUrl":"https://doi.org/10.1080/23322551.2020.1856304","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"67 1","pages":"383 - 393"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75626450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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