the performing arts immersive technologies · vr production: &samhoud media. dust vr dust aims...
Post on 21-Jul-2020
2 Views
Preview:
TRANSCRIPT
Immersive
Technologies
The
Performing Arts
&
What is Opera on Tap?
And Why are We Here?
Our Work With Immersive Technologies
WHY OPERA IN VR?● It’s a marriage of two multi-sensory experiences● Opera is an art form that over centuries has accrued an arsenal of diverse storytelling tools
through its marriage of sound, language, movement, theater and visual art.
● Opera needs new audiences while VR needs more content and new audiences
● Spatialized sound is really cool to us music people
"Help me," she cries. Two words
sung on two notes that make an
immediate impact."
LA Weekly
“If David Lynch were to write an opera…it
would be something like The Parksville
Murders.”
Philadelphia Inquirer
THE PARKSVILLE MURDERS
www.theparksvillemurders.com
PARKSVILLE(What’s Next)
THE SHRINE ENCOUNTER
-Game Engine Portal
-Social VR Experimentation
-Cinematic VR Episodic
Material
-Sonic and tactile interactivity
that lends to our narrative and
musical composition
-Location Jumps with
integrated musical composition
THE IMMERSIVE
OPERA PROJECT
The Immersive Opera Project is a collaborative effort by Opera on Tap, Austin Opera TX and Tapestry Opera
TORONTO to develop and showcase immersive opera inclusive of live, virtual and mixed reality projects. PARKSVILLE
is our inaugural project.
LOOKING AT YOUSpectators are seated at tables with built-in
touchscreens in a Silicon Hills company
headquarters that encompasses a coffee shop,
saloon, health club and roof garden. Once you
click on a standard user agreement,
information from your digital footprint —
information you have shared publicly on the
internet — begins to be folded into the lyrics
and visual content of the show.
As the drama of high romance amidst
government and corporate surveillance unfolds
around you, your screen reassembles into a
series of singing faces: your face, the faces of
your tablemates, the faces of your loved ones.
An Immersive Techno-Noir Music-
Theater Piece
ARTISTS:
Rob Handel-
librettist
Kamala Sankaram- composer
Kristin Marting-
stage director
David Bengali-
video designer
Tech Partners:
Carnegie Mellon Usable Privacy
and Security Lab
Joe Holt & Daniel Dickison- Coders
for Bandcamp.com
*Photos courtesy of BRIC Arts
Projects In The Commissioning Phase
(Immersive Opera Project)
R.U.R (Rossum’s Universal Robots)- In the 1920 science fiction play Karel Čapek is imagining a technological future, one that is both vastly different from and eerily
similar to the time we are approaching now with the advent and mainstreaming of AI, VR, and AR, and Big Data's unending presence in our lives - what does the
convergence of Big Data companies and robotics developers mean for our everyday? What would it look like to critically incorporate the elements he feared in an opera
that emphasizes human connection?
Composer: Nicky Lizee
Librettist: Nicolas Billon
Tapestry Opera- lead producing partner
Krystle Palace- is a site-specific AR opera.
The work is about the real person Krystle Cole, an artist and author who at a young age became an unwitting strip tease dancer and psychonaut under the complex
leadership of a guru. The story comes both from her own memoir “Lysergic” and from the VICE video essay that brought her to a larger public, with AR to be used to
simulate LSD trips, the atmosphere of the clubs in which she danced, the silo in which much of the collective experimentation took place, and the open spaces of her native
Kansas
Composer: Daniel Felsenfeld
Librettist: Brittany Goodwin
Director: Cari Ann Shim Sham*
Opera on Tap- lead producing partner
Projects Across The Spectrum Of The
Performing Arts
THE TEMPEST
Immersive technology:
-Mark Quartley – the actor playing Ariel – wears a suit
laden with motion sensors.
-The Imaginarium uses Intel Core i7-based computers to run
Unreal, the game engine that renders the avatar’s motion
by the data captured from Xsens sensors built into
Quartley’s suit.- rsc.org.uk
A Royal Shakespeare Company production in
collaboration with Intel and in association with the
Imaginarium Studios.
Photo credit: Topher McGrillis © Royal Shakespeare Company
NIGHT FALL
“If you create a ballet, you create it for stage.” As a
dancer, you have one focus point, and that’s the audience.
But if you’re working for virtual reality, then depending on
where you are in the room, you have to change your
direction. The choreography should really be different. So
we realized we had to make something new. A new
ballet.”
-Harm-Jan Keizer
Marketing Manager, Dutch National Ballet
Photo Courtesy of Marijn Korver and Dutch National Ballet
The Dutch National Ballet created the first Virtual
Reality Ballet
Inspired by the famous white acts from Swan Lake
and La Bayadère
-operaballet.nl
VR Production: &samhoud media
DUST VRDUST aims to transform the way people see and
experience contemporary dance through a 4
minute long immersive virtual reality experience. It
explores the boundaries between the virtual and
the real-world experiences and advances
research in the fields of participatory
performance, human-computer interaction and VR
technologies.
Andrej Boleslavský ― digital artist
Mária Júdová ― digital artist
Patricia Okenwa― choreographer
Soňa Ferienčíková ― dancer
Roman Zotov ― dancer
Carmen Salas ― creative producer
Miles Whittaker aka Demdike Stare ― musician
vrdust.org.uk
Immersive Technologies:
-2 kinects connected to laptops with
interactive software for audience
movement and sounds to control visuals on
the inflatable
-3 Optoma wide angle short throw
projectors
-Design of Inflatable space
-15” Stereo Speaker system PA (200W -
600W) Systems, with 2 speakers
Emily Beattie choreography
Cari Ann Shim Sham* interactive video
and video art
Mary Hale inflatable architect
Eric Gunther interactive sound & sound
design
DANCE LIKE NO ONE IS WHALE WATCHING
“The objective of the performance was to immerse the audience in this underwater world enough that they felt an empathetic impulse
to move within it. By design, both the performers and the visuals had the ability to move the storyline forward as the work went
deeper into an imaginative space. During open play time before and after the performance, the kinect cameras captured the
audiences movement and sound and used these to manipulate the visuals. Essentially, their movement changed the environment and
empowered them to move.”- Emily Beattie, dancelikenooneiswhalewatching.com *Photo credit: Bruce Hooke
AFTERA mind-bending examination of what constitutes a
single life and the endless possible outcomes at
the precise moment of death.
Created by Andrew Schneider
In collaboration with Alessandra Calabi, Bobby
McElver, Alicia ayo Ohs
and with Kedian Keohan and Peter Musante
Schneider collaborated with the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) to build a custom Wave Field
Synthesis speaker system, which creates “sound holograms” that move around the audience in three dimensions. EMPAC invited the creators
to use the system they had already built, then shared their designs so the creators could build their own.
The result: noises that emerge right next to you, only to run away, hover above the front row, then circle back. Paired with grids of
projected light and pulsing movement by the performers, the work aims to leverage sensory overload and collective hallucination to
question reality, the lived experience, and our own consciousness. -andrewjs.com
Andrew Schneider, AFTER, the Public Theater, January 2018.
Photo Credit: Maria Baranova-Suzuki
Conclusion
What are the benefits of partnering with technology companies from the performing arts perspective?
-Artists seek to use these tools in the most benevolent way possible- to enhance works of art that seek to directly
communicate and engage our audiences. And they continually prove to be helpful tools, both from a creative
perspective and a distribution perspective.
What are the benefits of partnering with performing arts companies from the tech perspective?
-“I realized that Gregory’s untethered ambitions for The Tempest would test the capabilities of our technologies,”
she said. “It would stretch our thinking about the kind of magic artists could create.”- Tawny Schlieski, former Director of Intel’s Desktop Research speaking about the experience of partnering with The Royal Shakespeare Company on its 2016
production of The Tempest- directed by Gregory Doran
- Performing Arts companies ideally perform beautifully conceived and rehearsed pieces in real time, and
technology is expected to keep up.
Contact
Anne Hiatt
anne@operaontap.com
top related