98 research outputs found
Peggy Shaw's "RUFF"
No full textPeggy Shaw has always had a host of crooners, lounge singers, movie stars, rock and roll bands, and eccentric family members living inside her. Ruff is a tribute to those who have kept Shaw company over the last 68 years, a lament for the absence of those who disappeared into the dark holes left behind by her recent stroke, and a celebration that her brain is able to fill the blank green screens with new insight. The original set and media environment for RUFF was conceived during a Split Britches residency hosted at QUT from June-August 2012, funded by Arts Queensland. After a preliminary season at Out North in Alaska RUFF premiered at Performance Space 122 2013 COIL festival, PS122 @ Dixon Place, New York in January 2013 and has since toured to the Chelsea Theatre in London and the Arches Festival in Glasgow.\ud
Co Written and Performed by Peggy Shaw, Co Written and Directed by Lois Weaver, Original Music Composed by Vivian Stoll, Choreography by Stormy Brandenburger, Set and Media Design by Matt Delbridge, Lighting Design by Lori E Said
Preparing for performance capture #1
No full textThis video article articulates two exercises that have been developed to respond to the need for preparedness in the growing field of Performance Capture. The first is called Walking Through (Delbridge 2013), where the actor navigates a series of objects that exist in screen space through a developed sense of the existing physical particularities of the studio and an interaction with a screen (or feedback loop). The second exercise is called The Donut (Delbridge 2013), where the performer continues to navigate screen space but this time does so through the literal stepping through of a Torus in the virtual – again with nothing but the studio infrastructure and the screen as a guide. Notions of Motion Captured performance infer the existence of an interface that combines performer with system, separating (or intervening in) the space between performance and the screen. It is precisely the effect and provided opportunity of the intermediary device on the practice, craft and preparedness of the actor as they navigate the connection between 3D screen space and the physical properties of the studio that is examined here. Defining the scope of current practice for the contemporary actor is a key construct of this challenge, with the most appropriate definition revolving around the provision of a required mixture of performance and content for live, mediated, framed and variously captured formats. One of these particular formats is Performance Capture. The exercises presented here are two from a series, developed over a three year study that contribute to our understanding of the potential for a training regimen to be developed for the rigors of Performance Capture.\u
Silk Road project
No full textChoreographer Kim Vincs and Scenographer Matthew Delbridge worked with dancer, Carlee Mellow, musicians Rob Vincs, Scott Dunbabin and Eugene Ughetti to create a virtual visual performance where performer's movement was rendered using a motion capture system and projected onto translucent screens
Intermedial Ontologies: Strategies of Preparedness, Research and Design in Real Time Performance Capture
No full textThe paper introduces and inspects core elements relative to the ‘live’ in performances that utilise real time Motion Capture (MoCap) systems and cognate/reactive virtual environments by drawing on interdisciplinary research conducted by Matthew Delbridge (University of Tasmania), and the collaborative live MoCap workshops carried out in projects DREX and VIMMA (2009-12 and 2013-14, University of Tampere). It also discusses strategies to revise manners of direction and performing, practical work processes, questions of production design and educational aspects peculiar to technological staging. Through the analysis of a series of performative experiments involving 3D real time virtual reality systems, projection mapping and reactive surfaces, new ways of interacting in/with performance have been identified. This poses a unique challenge to traditional approaches of learning about staging, dramaturgy, acting, dance and performance design in the academy, all of which are altered in a fundamental manner when real time virtual reality is introduced as a core element of the performative experience. Meanwhile, various analyses, descriptions and theorisations of technological performance have framed up-to-date policies on how to approach these questions more systematically. These have given rise to more sophisticated notions of preparedness of performing arts professionals, students and researchers to confront the potentials of new technologies and the forms of creativity and art they enable. The deployment of real time Motion Capture systems and co-present virtual environments in an educational setting comprise a peculiar but informative case of study for the above to be explored
The ecological approach to visual perception and the actor performance captured in the gaming landscape
No full textThe use of Performance Capture techniques in the creation of games that involve Motion Capture is a relatively new phenomenon. To date there is no prescribed methodology that prepares actors for the rigors of this new industry and as such there are many questions to be answered around how actors navigate these environments successfully when all available training and theoretical material is focused on performance for theatre and film. This article proposes that through a deployment of an Ecological Approach to Visual Perception we may begin to chart this territory for actors and begin to contend with the demands of performing for the motion captured gaming scenario.\u
Digital scenography for "Markus the Sadist" : UK National Tour
No full textHow does a digitally mediated environment work towards the ongoing support of the Hip Hop landscape present in the work of Jonzi D productions UK National Tour of "Markus the Sadist
Using virtual reality modelling in cultural management, archiving and research
No full textThis paper outlines how the Ortelia project’s 3D virtual reality models have the capacity to assist our understanding of sites of cultural heritage. The VR investigation of such spaces can be a valuable tool in 'real world' empirical research in theatre and spatiality. Through a demonstration of two of Ortelia's VR models (an art gallery and a theatre), we suggest how we might consider interpreting cultural space and sites as contributing significantly to cultural capital. We also introduce the potential for human interaction in such venues through motion-capture to discuss the potential for assessing how humans interact in such contexts
The cooling steam of the Polar Express : historical origins, properties and implications of performance capture
No full textAs the first academically rigorous interrogation of the generation of performance within the global frame of the motion capture volume, this research presents a historical contextualisation and develops and tests a set of first principles through an original series of theoretically informed, practical exercises to guide those working in the emergent space of performance capture. It contributes a new understanding of the framing of performance in The Omniscient Frame, and initiates and positions performance capture as a new and distinct interdisciplinary discourse in the fields of theatre, animation, performance studies and film
The Silk Road project
No full textThe Silk Road Project was a practice-based research project investigating the potential of motion capture technology to inform perceptions of embodiment in dance performance. The project created a multi-disciplinary collaborative performance event using dance performance and real-time motion capture at Deakin University’s Deakin Motion Lab. Performances at Deakin University, December 2007
“Very much a laboratory”: Barrie Kosky and the Gilgul Ensemble 1991– 1997
No full textThis chapter surveys the work of the Gilgul Ensemble, an independent theatre company established by Barrie Kosky in 1991 to investigate Jewish identity, history and performance. Across the 6-year lifespan of the company, Gilgul created five works that cemented Kosky’s growing reputation as a director and theatre-maker of uncommon vision and boldness. The authors, Yoni Prior and Matthew Delbridge, were members of the original ensemble and the chapter draws on interviews with past ensemble members to consider the idiosyncratic dramaturgy and collaborative working methods that forged the work, and the evolving stage language that developed across the span of the works. The chapter also reflects on the local and international cultural context out of which the work emerged, locating it in an historical moment when Australian (and peculiarly Melbournian) theatre artists were responding explicitly to the diversity of the Australian population through investigations of narratives of migration, and the transmutation of languages, accents and traditions of originary cultures. This work tended to the postmodern, multi-modal, multi- lingual and self-reflexive, whilst cannily appropriating and adapting the high theatricality of past performance traditions
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