SKYGGEN@VIRTUALIS (THE SHADOW@VIRTUALIS)
A Multimedia Performance
Based on H.C Andersen's fairy-tale Skyggen (the Shadow)
Falk Heinrich: director/text/animation--Lone Hersted, Lisbeth Sonne Andersen, Thomas Guldberg: performers--Exe Erik Christoffersen: dramaturg--Peter Thorsoe Korgaard: composer-- Janni Vad: scenography/virtual spaces-- Line Kramhøft: fabric designer, costumes--Steve Holman: lighting design
Århus Stifttidende, 1.11.99
" ...meget i stykket trækker i en nærværsskabende, ny multimedieæstetisk retning. Mundharmonikaspil, legende kropsbevægelser, lyrisk sang, spæde eventyrtriller, lystig cabaret, røde balloner og små skæve replikker i det levende rum i samspil med naivistiske animationsfigurer, svævende roser, dansende noder og nørdens faretruende 3D entre i cyberspace. StudioRU fortjener ros for sin evne til at eksperimentere."
The virtual I Or A Computer Character¹s Journey through the Cyber space of Dreams
A computer Player programmes a character to participate in a role play in virtual space. He calls this character the Shadow. The Shadow is sent on a long journey into Cyberspace where it is assigned to track down the true identity of a female character, who has taken the assumed name Princess. The Player has fallen in love with her and wants to meet the real woman behind the princess mask. However, the Shadow retains his own independent will and will no longer suffice with being a shadow. He wants to take the place of the human being. The Shadow imagines that by marrying Princess, it can achieve status as a human. Meanwhile it commits virtual rape against Princess. The Player behind the Shadow in the virtual room is the person who will eventually have to face charges. But, in fact, has anything happened apart from a playful, imaginative exchange of signs on a computer screen? Princess, the rape victim, feels violated. Her body and mind react violently through an excess of signs. She accuses the Shadow/Player and demands that he be excluded from the game in Cyberspace. But the programmed character is still there. It is not linked to any specific identity.
Motion Capture, Blue Screen, 3D Animationer
It makes no sense to use new multimedia technologies in a performance if this does not generate a new dramatic aesthetics. This new aesthetic has to be the result of a struggle between the old aesthetic of presence and the multi-dimensional form aesthetic; Motion Capture, Bluescreen, 3D animations, projection techniques versus the performer's organic struggle for the here and now in theatre. Projected computer generated 3D worlds, where the human performer on stage is challenged by his/her own artificial extension as animation fictional character