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Theater and Technology

Taken from an Article in BBC an year back.

“Vidiots, they sometimes call us,” admits Timothy Bird._58600604_sundayintheparkwithgeorge-325

Some people in the theatre industry don’t take kindly to the innovations that Mr Bird and his team at Knifedge are introducing to the stage. Innovations like a computer-generated avatar sword-fighting an actor live on stage in his most recent show Pippin, transporting the audience to the world of a computer game.

Or the sight of a Seurat painting gradually coming to life on stage in Sunday in the Park with George, the show which cemented Knifedge’s reputation with an Olivier award for Best Set Design in 2007.

Impressive feats like these by Mr Bird and others like him have meant that in the last five years the role of “video designer” has become increasingly common in theatrical programme credits – a term hardly known a decade ago.

So who are these “vidiots”, and what do they want to do to theatre?

No 3D glasses required

“Theatre is very different,” he says.

In a movement that some critics are calling “technodrama” and “mixed reality”, shows across the globe have been embracing the latest digital technology.

3D projections, virtual-reality masks for actors, stop-motion camerawork and computer animation have all been put to use.

And as the hardware and software become ever cheaper, the methods are trickling down to fringe theatre too.

Classic drama

Theatre has been exploring the magical possibilities afforded by science and technology since the dawn of drama.

“The Romans were the technology buffs who liked to show off their engineering skills,” according to David Wiles, professor of theatre at Royal Holloway. “They were interested in things like collapsing mountains, and using hydraulics to flood the stage.”

“The Greeks would fly gods in on a crane, but in general they were more restrained,” adds Professor Wiles, who is co-editing the Cambridge Companion to Theatre History. “They were more theoreticians, interested in the science of acoustics in the auditorium.”

But would the Romans have introduced live tweets into the Coliseum if only they could? Would the Greeks have been interested in generating a chorus using virtual reality avatars? Is there a line technology should not cross, when the drama itself becomes compromised, in any age?

Critical eye

Many in the theatrical community – from directors to lighting designers to actors and critics – have openly attacked the work of video designers, saying it distracts the audience, breaking the spell of the performance.

“In this age of attention deficit disorder, I can understand technology has a purpose,” says Matt Wolf, theatre critic for the International Herald and Tribune, wryly.

“Technology can serve to replace the power of the imagination,” he warns.

Mr Wolf says he believes in the old dictum that the power of theatre resides in “two planks and a passion” – when that exists, technology can only interfere.

“It seems odd,” he adds, “that theatre is seeking to emulate cinema – let celluloid do what it does best.”

Video designers openly joke about this resistance they face. Mr Dudley has battled with what he calls “the campaign for real scenery”, while Timothy Bird at Knifedge is always seeking to build alliances with what he calls “the enlightened lighting community”.

But some influential voices have spoken up to defend them.

“It would be crazy for theatre not to embrace new technology, especially video projections, the results can be brilliant,” says the Guardian’s theatre critic, Michael Billington.

Technology can also be overpowering on stage, but that is the fault of the directorial concept, adds Mr Billington, who analysed the evolution of British theatre after World War II in his book State of the Nation.

“For theatre to turn its back on new technology would be as if it had rejected electrically controlled lighting when it came into play in the 1880s,” says Billington.

However, even the practitioners of the art admit it has its limitations.

“If the directors just chuck technology at it [the production], it becomes a spurious gimmick,” admits Timothy Bird. “The trick is to keep the liveness, the human element.”

“Some directors see it as a distraction,” says Dick Straker, of the Mesmer collective, who set up a very informal video design team at the National Theatre a decade ago.

“They see the strength of theatre as the one-to-one live relationship between actor and audience, and they say: ‘Why would you want to intervene with pre-recorded special effects, by making it mediated, like TV?’ – I can sympathise with that.”

Forthcoming attractions

Dick Straker believes a new generation of video designers is waiting to burst onto the stage, and it will change things in ways we cannot yet imagine.

“Ten years ago people like myself were just dabbling in this technology, now students consciously choose to be video designers for theatre,” he says.

“I see a difference in these twenty-somethings, digital technology is completely integrated into their lives, they are a different breed and their relationship to the medium is different.”

The incumbent crop of video designers is already experimenting with the kind of tools this new generation will have at its disposal.

For those interested to read this in full : http://www.bbc.co.uk/news/technology-17079364

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