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Performance in Telemaric Spaces Nov 2004


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Outputs of the ANNIE project describing the performance workshops

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Performance in Telemaric Spaces Nov 2004

  1. 1. Telematic Performance at Warwick Mark Childs, Centre for Academic Practice, University of Warwick
  2. 2. Labels <ul><li>Virtual performance </li></ul><ul><li>Virtual theatre </li></ul><ul><li>Telematic performance </li></ul><ul><li>Telepresent performance </li></ul><ul><li>Distributed performance </li></ul>
  3. 3. Definitions <ul><li>the phrase &quot;telematic performance work&quot; refers to the use of a telecommunication network to establish links between two remote spaces at the same time and to present the activities in those two separate spaces variously as a single performance event. </li></ul><ul><li>… these activities … make use of the Web as a third performance &quot;space&quot;. – Cellbytes </li></ul>
  4. 4. Definitions <ul><li>&quot;telematics&quot; means more than simply videoconferencing, it implies a different awareness of your body and a different engagement with the visual/kinetic information received from the other end (or ends) - Susan Kozel </li></ul>
  5. 5. Virtual Performance <ul><li>Draws on experiences of technology (specifically virtual reality) </li></ul><ul><li>explores notions of &quot;self&quot;, &quot;location&quot; &quot;body/identity&quot; </li></ul><ul><li>Exploits advantages of technology </li></ul><ul><li>accessible, mutable, recordable, transferable, innovative, fun </li></ul>
  6. 6. The Telematic Performance <ul><li>Susan Kozel, Practitioner based in Vancouver </li></ul><ul><li>First year students at Warwick </li></ul><ul><li>Performance and Practice module </li></ul>
  7. 7. Performance space <ul><li>Physical performance space </li></ul><ul><li>Virtual performance space </li></ul>
  8. 8. PC Monitor webcamera Hub P P P uplink PC Monitor webcamera P P Laptop Data projector Video camera Video bus multipoint P P P P screen
  9. 10. Audiences <ul><li>Performers can see each other on their computers </li></ul><ul><li>People sit in studio and watch via projection </li></ul>
  10. 12. Activities in workshop <ul><li>Discussions of concepts </li></ul><ul><ul><li>Online chat </li></ul></ul><ul><li>Structured improvisations </li></ul><ul><ul><li>Creating a virtual face and body </li></ul></ul><ul><ul><li>Follow the leader </li></ul></ul><ul><li>Rehearsed performance pieces </li></ul>
  11. 13. Structured improvisations
  12. 20. Rehearsed performance piece
  13. 23. Physical Performance workshop
  14. 24. Videoconferenced physical performance <ul><li>Took place Friday, 8th March, 2002 </li></ul><ul><li>Canterbury and Exeter </li></ul><ul><li>Eastern physical performance </li></ul><ul><li>Performers in one half of studio </li></ul><ul><li>Wall-length screen hung in centre </li></ul><ul><li>Other half of group projected on screen </li></ul>
  15. 25. Why did it fail as a workshop? <ul><li>delays in setting up </li></ul><ul><li>low frame rates </li></ul><ul><li>image freezing and speeding up </li></ul><ul><li>time lags </li></ul>
  16. 26. Why did it fail as a workshop? <ul><li>Inappropriateness of subject matter </li></ul><ul><li>Selection of activities </li></ul><ul><li>difficulties with communication </li></ul><ul><li>difficulties with performance space </li></ul><ul><li>sightlines </li></ul><ul><li>inappropriate expectations </li></ul>
  17. 27. Solutions <ul><li>Include students and staff more in the explorative aspect of the project </li></ul><ul><li>Use the link to demonstrate work rather than work across the link </li></ul><ul><li>Make technology part of what is being explored </li></ul>
  18. 28. Telematic Performance at DMU
  19. 29. DMU performance examples <ul><li>Mirroring exercise </li></ul><ul><li>Face </li></ul><ul><li>Global village people </li></ul><ul><li>Timelag demonstration </li></ul>
  20. 30. Differences with Warwick <ul><li>Students based at home for 2 nd and 4 th session </li></ul><ul><li>Dial-up modems created additional difficulties </li></ul><ul><li>Performance and connection from own space created different ‘feel’ </li></ul>
  21. 31. Problems with virtual performance <ul><li>Immersive? </li></ul><ul><li>Engaging? </li></ul><ul><li>Reliable? </li></ul><ul><li>Lacking corporeality? </li></ul><ul><li>Therefore pointless? </li></ul>
  22. 32. Final Thoughts (1) <ul><li>The idea of the body displaced in time and space though “performing” in a present, virtual space is not enough (in my opinion) to support the rhetoric and hyperbole that drives much of the web-based activity we are speaking of. </li></ul><ul><li>- Johannes Birringer “Connected Dance” </li></ul>
  23. 33. (2) But ... <ul><li>In response to ADaPT - a performance across six sites involving: </li></ul><ul><li>“ live decorporealistions” </li></ul><ul><li>tearing up paper in front of a camera </li></ul><ul><li>multiple images of someone swivelling in a chair </li></ul>
  24. 34. (3) Questions <ul><li>Is this a new area for performance work or a few techies getting over-excited by technology? </li></ul><ul><li>Is it a springboard for creativity, or a mask for lack of creativity? </li></ul><ul><li>Is it missing the entire point of theatre, or rediscovering it? </li></ul>
  25. 35. 3D Visualisation Group <ul><li>Chromakey work </li></ul><ul><li>Motion capture </li></ul><ul><li>Virtual reality models </li></ul><ul><li>Stereoscopic projection </li></ul>
  26. 36. [email_address]