Full Body Acting Rehearsal in a Networked Virtual Environment-A Case Study

In order to rehearse for a play or a scene from a movie, it is generally required that the actors are physically present at the same time in the same place. In this paper we present an example and experience of a full body motion shared virtual environment (SVE) for rehearsal. The system allows actors and directors to meet in an SVE in order to rehearse scenes for a play or a movie, that is, to perform some dialogue and blocking (positions, movements, and displacements of actors in the scene) rehearsal through a full body interactive virtual reality (VR) system. The system combines immersive VR rendering techniques as well as network capabilities together with full body tracking. Two actors and a director rehearsed from separate locations. One actor and the director were in London (located in separate rooms) while the second actor was in Barcelona. The Barcelona actor used a wide field-of-view head-tracked head-mounted display, and wore a body suit for real-time motion capture and display. The London actor was in a Cave system, with head and partial body tracking. Each actor was presented to the other as an avatar in the shared virtual environment, and the director could see the whole scenario on a desktop display, and intervene by voice commands. A video stream in a window displayed in the virtual environment also represented the director. The London participant was a professional actor, who afterward commented on the utility of the system for acting rehearsal. It was concluded that full body tracking and corresponding real-time display of all the actors' movements would be a critical requirement, and that blocking was possible down to the level of detail of gestures. Details of the implementation, actors, and director experiences are provided

Acting rehearsal in collaborative multimodal mixed reality environments

This paper presents the use of our multimodal mixed reality telecommunication system to support remote acting rehearsal. The rehearsals involved two actors, located in London and Barcelona, and a director in another location in London. This triadic audiovisual telecommunication was performed in a spatial and multimodal collaborative mixed reality environment based on the 'destination-visitor' paradigm, which we define and put into use. We detail our heterogeneous system architecture, which spans the three distributed and technologically asymmetric sites, and features a range of capture, display, and transmission technologies. The actors' and director's experience of rehearsing a scene via the system are then discussed, exploring successes and failures of this heterogeneous form of telecollaboration. Overall, the common spatial frame of reference presented by the system to all parties was highly conducive to theatrical acting and directing, allowing blocking, gross gesture, and unambiguous instruction to be issued. The relative inexpressivity of the actors' embodiments was identified as the central limitation of the telecommunication, meaning that moments relying on performing and reacting to consequential facial expression and subtle gesture were less successful

An Exploration of Theatre Rehearsals in Social Virtual Reality

Virtual Reality (VR) offers potential for theatre makers to rehearse remotely in settings which are uniquely immersive. In collaboration with a major drama school in the United Kingdom, a longitudinal diary study was completed to examine the utility of consumer-grade VR for theatre rehearsals. Utilising commonly affordable headsets and general-purpose Social VR applications, 10 experienced students (2 directors, 8 actors) rehearsed scenes in VR over 3 weeks, before performing them in person. Participants detailed their experiences in diary logs and interviews, expressing the ability to work through spatial arrangements (blocking) as a full body avatar to be positively beneficial. Limitations included the absence of facial expressions and gestural nuance. Our overarching conclusion is that low-tech VR can be a useful aid in theatre rehearsals and early stages of production. In conclusion we outline design recommendations for a) using VR in theatre production and b) research and development of Social VR.</p

An Exploration of Theatre Rehearsals in Social Virtual Reality

Virtual Reality (VR) offers potential for theatre makers to rehearse remotely in settings which are uniquely immersive. In collaboration with a major drama school in the United Kingdom, a longitudinal diary study was completed to examine the utility of consumer-grade VR for theatre rehearsals. Utilising commonly affordable headsets and general-purpose Social VR applications, 10 experienced students (2 directors, 8 actors) rehearsed scenes in VR over 3 weeks, before performing them in person. Participants detailed their experiences in diary logs and interviews, expressing the ability to work through spatial arrangements (blocking) as a full body avatar to be positively beneficial. Limitations included the absence of facial expressions and gestural nuance. Our overarching conclusion is that low-tech VR can be a useful aid in theatre rehearsals and early stages of production. In conclusion we outline design recommendations for a) using VR in theatre production and b) research and development of Social VR.</p

UPPERCARE: a community aware environment for post-surgical musculoskeletal recovery of elderly patients

Trabalho apresentado na Conferência Internacional realizada em Wellington, Nova Zelândia, de 26-28 de abril de 2017Disability from musculoskeletal diseases and comorbidities may lead to the worsening of social and economic well-being through a multitude of paths. Moreover since in European Union (EU) Member States it is projected that those aged 65 and over will become a much larger share (rising from 17% to 30% of the population), and those aged 80 and over (rising from 5% to 12%) will almost become as numerous as the young population in 2060, there is a great potential for Information and Communication Technologies (ICT) solutions for addressing the present and future living arrangements in older people. The UPPERCARE system is meant to affect positively both the intergenerational and partners care since it contributes to decrease usability barriers and promote collaborative environments for informal and self-care. UPPERCARE is a new approach for integrated care supported by ICT systems and services, focusing on post-operative rehabilitation of musculoskeletal pathologies, having as a case study the knee post-operative scenarios of prosthetic care. This paper presents the UPPERCARE system, that provides an integrated care solution, supported ICT, for empowering self-care and adherence to rehabilitation plans through natural interfaces, gamification and cross-modal paths for community care collaboration. The system addresses current barriers from technological, clinical, social and organisational perspectives in a multidisciplinary environment. Special attention is given to the patients’ needs and behaviours entailing the participation of a wide care community, including clinical and non-clinical people, associations, institutions and authorities) through an user driven interaction within the system.This work was supported by Project ”NanoSTIMA: Macroto-Nano Human Sensing: Towards Integrated Multimodal Health Monitoring and Analytics/NORTE-01-0145-FEDER- 000016” financed by the North Portugal Regional Operational Programme (NORTE 2020), under the PORTUGAL 2020 Partnership Agreement, and through the European Regional Development Fund (ERDF).info:eu-repo/semantics/publishedVersio

The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

How Digital Scenography and Images Affect the Visual Spectacle in a Site-Specific Choreographic Installation

The aims of the research project were to gain a better understanding of digital scenography, mainly in the field of dance as used by recent choreographers, to create an experimental, improvisatory dance performance. This was eventually entitled Απεραντοσύνη/ Vastness, and successfully staged in a non-theatre installation space at the Attic, University of Hertfordshire, on September 16, 2016. The three main research questions are: Can a narrative, as represented by images in a projected animation, be a chorographic tool? Is it possible to combine projected animation with projected interactive motion generated images successfully for developing improvisatory dance performances in non-theatre spaces? And if so, can this combination also be a choreographic tool? The thesis of the project is that firstly, despite the apparent lack of historical precedents, it would be possible to combine scripted animations and un-scripted interactively generated graphics successfully in a dance performance project, presenting a decorative and aesthetic enhancement to the visual spectacle of the performance. Secondly, that such use could also be identified as a valuable choreographic tool for the development of improvisatory dance performances in non-theatre spaces. This dissertation analyses the historical, theoretical and practical processes of developing Απεραντοσύνη/ Vastness. It concludes that all of the questions have been given positive answers and these support the thesis

Directing Telepresent actors for the stage

This research project Directing Telepresent Actors for the Stage investigates how the theatre director can aid the telematic actor in their performance, through detailed exploration into actors monitoring their performances, the blocking of scenes and rehearsing instances of virtual touch. Through a four week rehearsal period that draws on existing telematic performances and the directing methodology of director Katie Mitchell and the theatre company Imitating the Dog, a cast of five undergraduate actors learn how to perform on the telematic stage, culminating in a production of Jennifer Haley’s The Nether which was performed across two separate theatre venues connected via the internet at the University of York, 29 September 2021