Week 2-Theatre and Virtuality (theatre and intermediality 1)

We began this week by discussing definitions of the term ‘Virtual’. Virtual is a term which can be used to describe a number of things. Without a doubt, we are living in a virtual society as computers are so heavily involved. You can do almost anything via virtuality now, online banking, shopping even play sports through such virtualtiy adaptations such as the Nintendo Wii.

I found a description for Virtual:
adj. [via the technical term `virtual memory', prob. from the term `virtual image' in optics] 1. Common alternative to logical; often used to refer to the artificial objects (like addressable virtual memory larger than physical memory) simulated by a computer system as a convenient way to manage access to shared resources. 2. Simulated; performing the functions of something that isn't really there. An imaginative child's doll may be a virtual playmate. Oppose real.’

I began thinking about how Virtuality played its part in theatre and performance. The theatre is now using form of virtuality to engage the audience on a higher level, making it more of a stimulating experience.
I began investigating into theatre groups which have become engaged with virtuality in their performances. II came across an interesting article on Hamlet, and how the director Carlos Cueva had adapted the Shakespeare classic to fit into today’s society:
‘Our Peruvian society is also increasingly dominated by pre-fabricated needs and tastes. If you have no dreams of your own, they are made for you. Thus each of the seven actors was given an individual multi-media set for this theatrical piece with which they could work on their interpretation of Marketing-Hamlet’

More and more companies are using aspects of virtuality in their performances, many used use of video.

Samuel Weber discusses Virtuality in theatre. He discusses how theatre has changed, and the impact virtuality has on theatre. He looks back to theatre of cruelty and juxtaposes the then and now. His Website is below:

http://www.hydra.umn.edu/weber/art2.html
I became interested in the idea of Myth Hacking. The website explains how a Greek tragedy such as Medea is hacked into and exploited via 3D images and video link ups. It explains that the performance can be viewed both live as well as an internet link up.

There are two ways to visit the ME DEA EX universe - physically attend the performance and see the live actress interacting with 3D world projected on the walls, or enter via the internet and affect the show, while watching the actress via her webcam. Both ways, you may become part of the chorus (the global village), that sing classic lines using text-to-speech mechanisms, saying: We could have saved the children… We could have done something…

We began discussing the idea of Meda Ex, which is Medea in 3D, the production above is fully engaged in virtuality not only is it accessible on the web, but it is performed in multiple languages. Making the production available on the internet increases the changes of gaining more of an audience and shows how virtuality can be a good thing for theatre.




We confront virtuality everyday and so it would be foolish to say that it did not belong in the theatre, as with anything the theatres must change to move with the times, it is inevitable that virtuality will continue into our theatres.