Scribd Logo
Încărcați

Bine ați venit la Scribd!

  • Augmented Pinocchio Dosser ENG

    Încărcat de

    Mic Crem
    1K vizualizări9 pagini
    Augmented Pinocchio is a performance of a new genre we call "Augmented Comedy". Ironic body language - visual comedy – a tale told also by other, more ethereal bodies, digital representations that are just as present in space as the bodies in the real world, which without requiring physical support for their projection "augment" the perception of the scene. The story’s characters can be portrayed in one scene by the actor, by the actor’s hologram in another, through an unprecedented operation for the theater: the virtual body is able to act and react with the actor in flesh and blood and enables a real, not simulated interactivity, granting a freshness to the stage and set that ushers the spectator into a magic illusory dimension. Modern videogame technology permits bodily movements to be plotted in real time; specific software adjusts and positions the virtual sets and characters, placing a powerful tool at the service of story-telling, and not just technological performance for its own sake. The old pepper ghost theatrical trick was first developed at the start of the 1900 to make actors appear and disappear from the stage as if by magic. Overhauled and improved by avant-garde multimedia materials and systems, the stage is bare and the technology behind it is nowhere to be seen. The effect is purely for the audience, and the appearance of objects, bodies, and sets onstage takes place through a game of truth and illusion in which the line between the two is very fine indeed. The setting is also linked to the world of paper, story-telling material par excellence, the book of Pinocchio, which becomes the common denominator in the project’s aesthetic definition. The world is generated by Geppetto, the creator who draws the story’s events and gives life to the pieces of paper/raw material that form his clothing; as the plot thickens, the forms of paper begin gaining dominance over the human dimension, to the point of revealing the essence of the initiation the puppet Pinocchio must receive before he can dash freely through the world and regain his body in flesh and bone.

    Drepturi de autor

    © Attribution Non-Commercial (BY-NC)

    Formate disponibile

    PDF, TXT sau citiți online pe Scribd

    Vi se pare util acest document?

    Este necorespunzător acest conținut?

    Raportați acest document
    Augmented Pinocchio is a performance of a new genre we call "Augmented Comedy". Ironic body language - visual comedy – a tale told also by other, more ethereal bodies, digital representations that are just as present in space as the bodies in the real world, which without requiring physical support for their projection "augment" the perception of the scene. The story’s characters can be portrayed in one scene by the actor, by the actor’s hologram in another, through an unprecedented operation for the theater: the virtual body is able to act and react with the actor in flesh and blood and enables a real, not simulated interactivity, granting a freshness to the stage and set that ushers the spectator into a magic illusory dimension. Modern videogame technology permits bodily movements to be plotted in real time; specific software adjusts and positions the virtual sets and characters, placing a powerful tool at the service of story-telling, and not just technological performance for its own sake. The old pepper ghost theatrical trick was first developed at the start of the 1900 to make actors appear and disappear from the stage as if by magic. Overhauled and improved by avant-garde multimedia materials and systems, the stage is bare and the technology behind it is nowhere to be seen. The effect is purely for the audience, and the appearance of objects, bodies, and sets onstage takes place through a game of truth and illusion in which the line between the two is very fine indeed. The setting is also linked to the world of paper, story-telling material par excellence, the book of Pinocchio, which becomes the common denominator in the project’s aesthetic definition. The world is generated by Geppetto, the creator who draws the story’s events and gives life to the pieces of paper/raw material that form his clothing; as the plot thickens, the forms of paper begin gaining dominance over the human dimension, to the point of revealing the essence of the initiation the puppet Pinocchio must receive before he can dash freely through the world and regain his body in flesh and bone.

    Drepturi de autor:

    Attribution Non-Commercial (BY-NC)
    Descărcați ca PDF, TXT sau citiți online pe Scribd
    Indicator pentru conținut neadecvat
    1K vizualizări9 pagini

    Augmented Pinocchio Dosser ENG

    Încărcat de

    Mic Crem
    Augmented Pinocchio is a performance of a new genre we call "Augmented Comedy". Ironic body language - visual comedy – a tale told also by other, more ethereal bodies, digital representations that are just as present in space as the bodies in the real world, which without requiring physical support for their projection "augment" the perception of the scene. The story’s characters can be portrayed in one scene by the actor, by the actor’s hologram in another, through an unprecedented operation for the theater: the virtual body is able to act and react with the actor in flesh and blood and enables a real, not simulated interactivity, granting a freshness to the stage and set that ushers the spectator into a magic illusory dimension. Modern videogame technology permits bodily movements to be plotted in real time; specific software adjusts and positions the virtual sets and characters, placing a powerful tool at the service of story-telling, and not just technological performance for its own sake. The old pepper ghost theatrical trick was first developed at the start of the 1900 to make actors appear and disappear from the stage as if by magic. Overhauled and improved by avant-garde multimedia materials and systems, the stage is bare and the technology behind it is nowhere to be seen. The effect is purely for the audience, and the appearance of objects, bodies, and sets onstage takes place through a game of truth and illusion in which the line between the two is very fine indeed. The setting is also linked to the world of paper, story-telling material par excellence, the book of Pinocchio, which becomes the common denominator in the project’s aesthetic definition. The world is generated by Geppetto, the creator who draws the story’s events and gives life to the pieces of paper/raw material that form his clothing; as the plot thickens, the forms of paper begin gaining dominance over the human dimension, to the point of revealing the essence of the initiation the puppet Pinocchio must receive before he can dash freely through the world and regain his body in flesh and bone.

    Drepturi de autor:

    Attribution Non-Commercial (BY-NC)
    Descărcați ca PDF, TXT sau citiți online pe Scribd
    Indicator pentru conținut neadecvat
    din 9

    Michele Cremaschi

    augmented pinocchio
    interactive hologram show

    Direction, interpretation, interaction design Michele Cremaschi Scenographic direction Silvio Motta Movement direction Serena Marossi Technical direction Marco Amedani Virtual and real scene objects by LABA students (Libera Accademia di Belle Arti di Brescia) Costume designer Elisabetta Cosseddu Press ocier Carmen T Photoes Marco Riva Coproduction E45 Napoli Fringe Festival - Fondazione Campania dei Festival Technological support by Software Architecture Lab research laboratory at MilanoBicocca Universitys Information and Systems Sciences and Communication Department (DISCo) Artistic residencies: LABA - Libera Accademia di Belle Arti di Brescia Residenza Teatrale InItinere Production support Associazione Culturale AlbanoArte Teatro Sponsorship by Fondazione Cariplo - bando Etre Under the patronage of Parco dei Colli di Bergamo Assessorato alla Cultura del Comune di Bergamo - progetto Casa delle Arti

    Premired: 19th June 2013, Galleria Toledo - E45 Napoli Fringe Festival

    H T T P : / / W W W . M I C H E L E C R E M A S C H I . I T

    Software Architecture Lab

    Dedicated to every Pinocchio on the road to a Toyland as ephemeral as a hologram.

    Synopsis An old man takes the stage alone. All hes got is clothing in elegant, old-fashioned style made of a thousand cuttings from pages of books. He uses some of the paper to create a puppet he considers his son "who can dance, parry and thrust with a sword and turn somersaults; but more than anything else, just keep him company. Paper pulled from the old mans dress will also be used to make other characters, even the world itself the puppet will encounter after reaching independence and setting out on his own. His journey will require him to face up to himself and a son/ boy essence built on such imsy, perishable material. Hell be put to the test again and again, and meet parts of the world that have precious little to do with the protection and love of his father, who will never stop keeping watch over him. But its just when all seems lost the boy falls into bad company, the father no longer has even a scrap of paper to wear that the magic change occurs. Not the one in the fairy tale, predictable and consolatory but violent enough instead to sacrice the world at large, which turns out to be as illusory and ephemeral as the words printed on the pages hes made of. The pages crumble, burn, and turn to dust, leaving in their wake the man who came to be formed in the meantime: free to come and go without a safety net anywhere in the world. Directors notes Augmented Pinocchio is a performance of a new genre we call "Augmented Comedy". Ironic body language - visual comedy a tale told also by other, more ethereal bodies, digital representations that are just as present in space as the bodies in the real world, which without requiring physical support for their projection "augment" the perception of the scene. The storys characters can be portrayed in one scene by the actor, by the actors hologram in another, through an unprecedented operation for the theater: the virtual body is able to act and react with the actor in esh and blood and enables a real, not simulated interactivity, granting a freshness to the stage and set that ushers the spectator into a magic illusory dimension. Modern videogame technology permits bodily movements to be

    plotted in real time; specic software adjusts and positions the virtual sets and characters, placing a powerful tool at the service of story-telling, and not just technological performance for its own sake. The old pepper ghost theatrical trick was rst developed at the start of the 1900 to make actors appear and disappear from the stage as if by magic. Overhauled and improved by avant-garde multimedia materials and systems, the stage is bare and the technology behind it is nowhere to be seen. The eect is purely for the audience, and the appearance of objects, bodies, and sets onstage takes place through a game of truth and illusion in which the line between the two is very ne indeed. The setting is also linked to the world of paper, story-telling material par excellence, the book of Pinocchio, which becomes the common denominator in the projects aesthetic denition. The world is generated by Geppetto, the creator who draws the storys events and gives life to the pieces of paper/raw material that form his clothing; as the plot thickens, the forms of paper begin gaining dominance over the human dimension, to the point of revealing the essence of the initiation the puppet Pinocchio must receive before he can dash freely through the world and regain his body in esh and bone. "Ambitious and innovative stage work and an excellent performance by Cremaschi" dramma.it A performance that hearkens to what theater and the visual arts are going to be like soon in the future. RAI - Radio Televisione Italiana

    press quotes
    "Suggestive, almost magic" La Repubblica A system that opens the limited horizons of the theatrical stage" FanPage

    Transcription of announcement made by television news channel TG3 Campania Region on 19/06/2013 No one had ever seen Pinocchio like this before. Suspended on stage between physicality and holograms, the performer in esh and blood and virtual reality interact in an unending dance throughout a performance that hearkens to what theater and the visual arts are going to be like soon in the future. An E45 and Napoli Fringe Festival co-production, Augmented Pinocchio makes its international debut at Napolis Galleria Toledo. Michele Cremaschi takes his steps around the stage apparently alone, but in reality, other elements and characters appear in the form of holograms. Virtual reality, enhanced reality, augmented reality, a term we encounter often when plotting the future of the smartphone and surgery by robot. Now its potential for application can be used in the theater to help drive the human dream of narrating these and dreamier, more ethereal worlds on the same stage even further. The sets designed by Silvio Motta, an architect with extensive professional training in the German theater, make a perfect match with the ironic gesticulation of Michele Cremaschi, who wanted students at Brescias Free Academy of Fine Arts among the hologram programmers. The performance promises to bring innovation to the world of visual comedy in which the human body regales smiles and laughter with a choice few words, sometimes even fewer.

    Watch original video

    Michele Cremaschi After graduating obtaining a degree in Information Technology in 1997, Michele Cremaschi attended a European Social Fund Course in Theater at Cassina de Pecchi received his diploma Si laurea in Scienze dellInformazione nel 1997. Si diploma in teatro pressoand il corso FSE di Cassina in 1999. He continued studying physical theatre under Pierre Byland, among others. He founded de nel 1999.Approfondisce lo studio del physical theatre sotto la guida, tra gli altri, di Pierre thePecchi Slapsus comedy group, with which he appeared on Italian (Zelig) and Belgian television Byland. Fonda programs. He directed il gruppo the Slapsus Erbamil con Cooperative il quale ospite from 2005 in trasmissioni until 2008,televisive and has served Italianeas (Zelig Director )e and President of thedal Retroscena Association andInItinere Theater Residence since Belghe. Amministra 2005 al 2008 la cooperativa Erbamil ; dal 2008 al 2013 fondathen. e dirige lassociazione Retroscena e la Residenza Teatrale InItinere . Michele Cremaschi has been writing for the theater and acting since 1999, participating at festivals the length and breadth of Europe, and in 1999, Russia, Africa, Asia. These includes: Autore ed attore in spettacoli teatrali dal con cui partecipa a festival in Europa, Africa, Asia, Medio Oriente. Tra questi: The Santarcangelo International Festival, Italy, 2004 Festival Internazionale di Santarcangelo 2004 The Harare International Festival of Arts (Zimbabwe, 2010) Harare International Festival of Arts (Zimbawe, 2010) The Edinburgh Fringe (2006 Festival (2006 e 2009) Edinburgh Fringe Festival e 2009) Macao Macao International International Festival Festival (China, (China, 2012) 2012) National Art Festival (South Africa, 2012) National Art Festival (South Africa, 2012) Le produzioni in awarded cui coinvolto a vario titolo si aggiudicano i seguenti riconoscimenti: His shows were of several prizes: 2003 - Festival du Rire Rochefort prix de la presse; 2009 - Edinburgh Fringe Festival LongListed for the Total Theatre Prize and Pick of the 2003 - Festival du Rire Rochefort prix de la presse; Festival; 2009 - Fringe Edinburgh Fringe Festival LongListed for the Total Theatre Prize and Pick of the Edinburgh 2010 - winner of Lalka te czowiek Festival (Varsavia-Polonia); Edinburgh Fringe Festival; 2010 - LAltro Festival in Lugano young jury prize; 2010 - winner of Lalka te czowiek Festival (Varsavia-Polonia); 2011 - KingFestival (Veliky Novgorod-Russia) best children show, Local Turistic Oce prize, 2010 - LAltro Festival in Lugano young jury prize; young critic jury prize. 2011 - KingFestival (Veliky Novgorod-Russia) children show, Local Turistic Oce 2011 - E-Mix Quality Label visual theatre festivalbest network prize prize, young critic jury prize. Dal 2011 competenze quelle legate festival al mondo della tecnologia per intraprendere 2011 le - E-Mix Qualityteatrali Label evisual theatre network prize fonde unoriginale ricerca sulluso creativo delle recenti tecnologie sulla scena. In questo percorso partecipa a: Since 2011 joins his theatrical and technologic skills toward the research of a performative LPM Live Performer Meeting, Rome, 2011 application of interactive digital multimedia systems. With his performances takes part to: Shiny Toys International Festival for audiovisual experimentation Mullheim der Ruhr, 2012 ArtsIt International Conference on Art and Technology Milan, 2013 LPM Live Performer Meeting, Rome, 2011 Shiny Toys International Festival for audiovisual experimentation Mullheim der Ruhr, Pubblica larticolo Towards Augmented Coreography, co-written with D. Bernini, F. Tisato, G. De 2012 Michelis, M. Plumari; selezionato per la conferenza ArtsIt 2011 International Conference on Art ArtsIt International Conference on Art and Technology Milan, 2013 and Technology. Organizza la rassegna Nuove tecnologie in scena/New technologies on Stage in collaborazione His paper Towards Augmented Coreography, co-written with D. Bernini, F. Tisato, G. De Michelis, con Teatro Donizetti in Bergamo. M. Plumari was selected for ArtsIt 2011 International Conference on Art and Technology. Currently organizes the Nuove tecnologie in scena/New technologies on Stage festival in Dal 2013 docente del corso Interactive systems for multimedia performances presso LABA collaboration with Teatro Donizetti in Bergamo. Teacher of Interactive systems for multimedia Libera Accademia di Belle Arti di Brescia. performances at LABA Libera Accademia di Belle Arti di Brescia.

    Silvio Motta Silvio Motta began his scenography work at a very early age with the Lievi Brothers at Teatro dellAcqua in Gargnano, continuing his training with Tobia Ercolino at Rifredi Theatre in Firenze.

    Prizes: in 1991 he created the stage sets for Suddenly, last summer by T. Williams, directed by Cherif - Teatro Testoni, with whom he won the UBU prize for the years best stage set. Silvio moved to Germany, where he began working with I.Waldherr Theatre of Freiburg, W. Schneider Theatre of Hof, P. Caputo, Westflische Kammerspiele Paderborn, P. Campigner - Karlshorst Theatre in Berlin, T. Ler Theatre of Luzerne, N. Kokotovic Theatre of Saarbrcken, S. Karthaus Theatre of Konstanz, N. Kokotovic Theatre of Meersburg, C. Trac Spiegelhalle of Kostanz, F. Di Francescantonio - Teatreneu of Barcelona, U.Chiti Theatre Niccolini of Firenze, A. Savelli - Rifredi Theatre in Firenze He has shown his artwork at the Arsenale a La Maddalena: Bottom Wind: Garibaldi e la libert dei popoli, Biennial Contemporary Art Exhibition in Ferrara: Luci dartista, at the Palatte Museum in Ledro: Big Mouth multimedia installation at the Galleria Inga Pin in Milano, multimedia installation in Piazza T. Brusato at the IKOS Festival in Brescia: at the San Carpoforo Gallery in Milano, the Bedoli Gallery in Viadana, at the Festival Atmosphere det Festival in Paris, and at the V.I.A. Gallery in Firenze, and at the Multimedia Gallery in Brescia.

    Video: l)(qua Adamello / il cuore trasparente; video performance Il sogno del Parco del Sogni; Art Festival in Toscolano Maderno, video installation Lets go transformers!; Milano Furniture Show: video installation for Foscarini; Riva del Garda: video installation Sospensioni Cromatiche; Garda Cecina Promotion, Toscolano Maderno: video performance The magical cube; Palazzo Cominelli, Cisano del Garda: video installation Sospensioni Cromatiche; Hip Hop Heart Festival 2005: presentation video for the musical event; Emmas - Festival di Musica Etnica, Olbia: video installation.

    Silvio teaches scenography at LABA in Brescia (Fine Arts Academy). He has worked in over fty international productions as art director, costume designer, and videomaker.

    More
    Watch show video promo Go to show webpage Go to Facebook webpage Press review past productions Next show schedule

    Contacts
    http://michelecremaschi.it ph. +39 320 2992681 michele.cremaschi@gmail.com

    S-ar putea să vă placă și