![]() ![]() ![]() According to lighting designer Olli-Pekka Koivunen, new technologies provide cost-efficiency by saving the stage time needed for production design.ĭespite the numerous possibilities provided by immersive technologies, it should be noted, that these procedures are still very much under construction. At the Finnish National Opera, virtual stage and auditorium are used for sets and lighting design. Although these productions use technology originally developed for the needs of film industry, their real-time integration into live performance adds a whole new level of excitement with immersion.Īlongside live performance, virtual reality platforms developed for gaming, are used today in theatres as tools for production designing. Several productions featuring virtual reality and augmented reality within the context of a live performance were examined in detail by Sarah Ellis, director of digital development for the Royal Shakespeare Company, Richard Slaney, managing director of 59 productions, Mathis Nitschke, composer of interactive operas, and Tanja Basatamow, digital artist and researcher at Aalto University. Here, one can find links between some aleatory experiments of John Cage and the undercurrents of the fluxus aesthetics, though there are also substantial differences. Gabo Arora, the founder and creative director of LightShed and professor at Johns Hopkins University, focused on the role of the new technologies as means for understanding and empathy, through immersive experience.īoth Rob Morgan, creative director at PlayLines and Kathy Wang, director of product strategy and business development at Magic Leap, reviewed the possibilities of interactive story-telling and its impact upon audiences by transforming them into co-creators of a work of art. With their interactivity and ability to immerse the listener literally in the middle of the orchestra during a performance, the listening experience is enhanced by means unavailable with either traditional recordings or live performances.Īs stated in several keynote presentations at First Session, the essence of immersive technologies is not found in state-of the art reproductions of the world around us, but in new means of experience and story-telling. Streaming services have provided new platforms for reaching out and marketing, yet many classical music lovers still buy CDs.Īt their very best, immersive technologies can provide something substantially fresh and new. Though there has been a quantum leap in sound quality of recordings over the past century, in terms of the concept of home listening, little has changed. Using immersive gaming technology, the listener is transported into the the stage of the Royal Festival Hall, the Philharmonia’s London home, for a hands-on experience of the orchestra and Salonen performing the finale of Sibelius’ Fifth Symphony or the Third Symphony of Gustav Mahler. The iPad app, The Orchestra ensued, combining multi-angle camerawork, commentary, and digital scores into an extended experience, paving the way for Philharmonia’s most recent endeavour, the Virtual Orchestra. ![]() ![]() Followed by The Universe of Sound, based on Holst’s The Planets and subsequently released on blu-ray, the technology behind Re-Rite was further enhanced and developed. Starting with Re-Rite, an interactive installation based on Stravinsky’s The Rite of Spring, the audiences were invited to immerse themselves into a performance from various points of view, be it within different sections of the orchestra or at the podium. Over the past decade, Salonen’s keen interest on the possibilities of new technologies in art and performance has manifested itself in various projects with the Philharmonia Orchestra. Opera Beyond is the brainchild of the Finnish National Opera and its artistic partner, Esa-Pekka Salonen, with a mission to develop and produce several immersive experineces, both for stage and off-stage. The two-day Opera Beyond First Session conference at the Finnish National Opera last week provided an inspiring glimpse into the possibilities and realities of immersive technologies at the service of opera and the performing arts. ![]()
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