Experiments with Distributed Theatre

Williams, Doug; Kegel, Ian; César, Pablo; Jansen, Jack; Ursu, Marian F.; Geelhoed, Erik

doi:10.1109/mmul.2015.65

Cited by 3 publications

(2 citation statements)

References 6 publications

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“…Some of the action was played out in one theatre location (set on one part of the island) and some of the action in the second theatre location (set on another part of the island), with actors communicating via screens, which formed an integral part of the set-design, and wireless microphones, which were positioned close to the actors' mouths, to prevent audio-feedback (howling). The enabling technologies for this second field trial have been reported elsewhere [74] [75] [33]. Specifically, we have developed a script-based approach to enable the dynamic control of screen contents and pan/tilt/zoom (PTZ) cameras.…”

Section: Field Trial 2: Distributed Audiences (The Distributed Tempesmentioning

confidence: 99%

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Co-present and remote audience experiences: intensity and cohesion

Geelhoed

Singh-Barmi

Biscoe

et al. 2016

Multimed Tools Appl

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This article presents the results of modelling audience response to new types of networked theatre plays. As the main contribution of the work we introduce two types of metrics: intensity, relating to how intensively co-present and remote aspects of a performance are rated, and cohesion, relating to how a performance as a whole, the combination of copresent and remote aspects, affects an audience. In particular, we model audience response based on two in the wild evaluations, staged by a low budget theatre company, a streamed and a distributed performance. The streamed performance is similar to NT Live, where a theatre play is delivered to other theatres with an audience. The distributed performance, on the other hand, connects actors in two different theatres (with audiences) creating one single play. The streamed performance was experienced as less intense as well as less cohesive by the remote audience, whilst the distributed performance integrated co-present and remote aspects tightly. Remote aspects of the distributed performance were still experienced as less intense, but the performance as a whole was highly cohesive. Apart from the identification of these two new metrics (intensity and cohesion), based on our experiences we argue that an innovative way of bundling relevant emerging technologies is needed to give a voice to the, as yet silent, remote audience.

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Section: Field Trial 2: Distributed Audiences (The Distributed Tempesmentioning

confidence: 99%

“…In this case we evaluated the reaction of the audience to an adapted version of Miracle Theatre's stage production of Shakespeare's The Tempest, using two connected theatre spaces, each with its own audience. More information about the show and the technology enabling such a setup can be found in previous publications [74] [75] [33].…”

Section: Introductionmentioning

confidence: 99%

Co-present and remote audience experiences: intensity and cohesion

Geelhoed

Singh-Barmi

Biscoe

et al. 2016

Multimed Tools Appl

Self Cite

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Fostering the Learning of English Idioms by Setting Children within a Virtual Environment

Guo

Chen²

2018

2018 Seventh International Conference of Educational Innovation Through Technology (EITT)

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Immersive Shared Experiences

César

2015

Proceedings of the 3rd International Workshop on Immersive Media Experiences

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Video communication is filtering into everyday use. Television is becoming more social, videoconferencing happens in the living room and beyond, and games are played with others remotely. The confluence of social networking, multimedia, and computermediated interaction is radically reshaping social communication, bringing new challenges and opportunities. One key challenge ahead is to move from current static solutions (e.g., "talking heads") to truly natural and immersive experiences. In this talk we provide an overview of the present state of the art through a few examples and discuss future possibilities and challenges. In particular, we will concentrate on two representative future application areas: performing arts and personal communication. In the former, we will explore how distributed stages can be linked, so artists at different locations can perform together at the same time the same song, act or play. In the latter, we will discuss our continuous efforts on the provision of 3D tele-immersion environments that offer a common virtual room for friends or family members to hangout. As we will show in this talk, current challenges associated to immersive media experience require multi-disciplinary solutions.

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Experiments with Distributed Theatre

Cited by 3 publications

References 6 publications

Co-present and remote audience experiences: intensity and cohesion

Co-present and remote audience experiences: intensity and cohesion

Fostering the Learning of English Idioms by Setting Children within a Virtual Environment

Immersive Shared Experiences

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