1n0ut
20th March 2009, 10:36 AM
hi all,
last year we made a realtime stereoscopic dance theater piece after Kafka. The idea was to record all things live and play with them. Means the actor says a chain of quite meaningless sentences and is recorded then it is played back and the real actor answers his before recorded questions and sentences in its pauses.
the documentation was shot at a rehearsal so sorry for sound and image quality.
http://www.1n0ut.com/cpu/doku.htm
http://www.youtube.com/1n0ut
here the english text of the concept:
CPU (Central Processing Unit) - The Process
A stereoscopic real-time dance theatre production
Why should media art not stand in dialog with other classical forms such as literature, dance and theatre and not, how so often, simply present multimedia enhanced versions. Is it not time to re-interpret works with our new worldview and capabilities, and to present these?
This is exactly where the aim of this concept lies.
It is about storage, repetition, the processes of human action, namely movement, and dialog in a tri-pole of dramaturgy which is strongly based on the book, but abridges and compresses it and transposes it into a digital world.
One can imagine the piece as follows: Josef K. the protagonist enters and is recorded and digitalized in real-time by 2 cameras (stereoscopic recording) and a microphone. He walks to the center of the stage and asks himself the question out loud, what might be keeping his breakfast, (pause) and why his landlord is late, he walks two steps to the side and stays put. Meanwhile the recorded audio-visual material is replayed and the questions sound anew, and the real character stands face to face with his virtually recorded 3D stereo clone. He answers his questions, sewing doubt with phrases such as that she probably overslept, etc. A physical dialog originates from a monolog form.
In our piece motion (dance) and spoken text fragments reoccur virtually in a ghost-like manor and interact with the real actors. The dancers dance with themselves and sometimes with other virtual clones or other dancers. The virtual characters leave traces (motion blur) that disappear less and less. A dismantling of the linear storytelling begins and the audience becomes confused.
The piece becomes more and more compressed and keeps overlapping until salvation is found in a staccato of audio-visual stimulations and finally ends with a system crash, like in the original book ends with death.
The piece raises a lot of philosophical question which deal with the material and non-material world of our thoughts and memories; it is greatly inspired by books like Solaris, Plato’s cave allegory and works of early media art pioneers like Norman McLaren and Alvin Lucier.
This year version 2 of the project will be presented at european cultural capital 2009 in October.
best,
1n0ut
http://www.1n0ut.com
last year we made a realtime stereoscopic dance theater piece after Kafka. The idea was to record all things live and play with them. Means the actor says a chain of quite meaningless sentences and is recorded then it is played back and the real actor answers his before recorded questions and sentences in its pauses.
the documentation was shot at a rehearsal so sorry for sound and image quality.
http://www.1n0ut.com/cpu/doku.htm
http://www.youtube.com/1n0ut
here the english text of the concept:
CPU (Central Processing Unit) - The Process
A stereoscopic real-time dance theatre production
Why should media art not stand in dialog with other classical forms such as literature, dance and theatre and not, how so often, simply present multimedia enhanced versions. Is it not time to re-interpret works with our new worldview and capabilities, and to present these?
This is exactly where the aim of this concept lies.
It is about storage, repetition, the processes of human action, namely movement, and dialog in a tri-pole of dramaturgy which is strongly based on the book, but abridges and compresses it and transposes it into a digital world.
One can imagine the piece as follows: Josef K. the protagonist enters and is recorded and digitalized in real-time by 2 cameras (stereoscopic recording) and a microphone. He walks to the center of the stage and asks himself the question out loud, what might be keeping his breakfast, (pause) and why his landlord is late, he walks two steps to the side and stays put. Meanwhile the recorded audio-visual material is replayed and the questions sound anew, and the real character stands face to face with his virtually recorded 3D stereo clone. He answers his questions, sewing doubt with phrases such as that she probably overslept, etc. A physical dialog originates from a monolog form.
In our piece motion (dance) and spoken text fragments reoccur virtually in a ghost-like manor and interact with the real actors. The dancers dance with themselves and sometimes with other virtual clones or other dancers. The virtual characters leave traces (motion blur) that disappear less and less. A dismantling of the linear storytelling begins and the audience becomes confused.
The piece becomes more and more compressed and keeps overlapping until salvation is found in a staccato of audio-visual stimulations and finally ends with a system crash, like in the original book ends with death.
The piece raises a lot of philosophical question which deal with the material and non-material world of our thoughts and memories; it is greatly inspired by books like Solaris, Plato’s cave allegory and works of early media art pioneers like Norman McLaren and Alvin Lucier.
This year version 2 of the project will be presented at european cultural capital 2009 in October.
best,
1n0ut
http://www.1n0ut.com