080 VENUE


“But this opera also


explores a series of new technologies that stretch


the boundaries of opera and performance.”


performance on stage. So what does the Disembodied Performance System actually control on the stage. The Greek term periaktoi is often used to describe towers used for rapidly changing scenery. They were first pioneered in the theatre by Nicola Sabbatini (1574 - 1654). Death and the Powers updates the concept by embodying modern technology in three traditional triangular periaktoi. Their positions on stage are monitored by a Ubisense location system and each tower incorporates Versatubes to create a huge pixel display. The display can present colours, movement or video. The image is formed and influenced by the movements and gestures of Simon Powers, combined with sound and other inputs - the visual appearance and set for every performance will be different. The three towers can combine to create a display with a resolution of 173 by 69 pixels. The image shows the control system for the walls below a graphic representation of what is being shown on screen. The images are a synthesis of video compositing, generative and live imagery. Simon Powers movements and off-stage presence also control lighting, sound and other visual effects including a huge chandelier that he uses to communicate with his family and friends. Now to the robots. Death and the Powers has a live cast of seven, a live orchestra of 15 musicians and a chorus of 11 Operabots who all take a curtain call at the end of the evening. There are nine full sized Operabots and two smaller ‘puppy’ bots. The Operabots are autonomous devices controlled by simple Playstation 3 controllers as found on computer games. Each Operabot can move freely around the stage and can grow from 140cm tall to over two metres. Each has an onboard computer. The Media Lab and MIT could draw upon almost any computer company in the world to provide huge computing resources. Instead they chose to use the world’s simplest and cheapest laptop computer, the OLPC or one laptop per child. Founded by Nicholas Negroponte, the former head of the Media Lab the mission of OLPC is to create and distribute laptops for a target price of $100. To date over 1.5 million laptops have been distributed. Most opera directors and conductors have experienced problems with chorus members not doing what they are instructed. The same problem arises with Operabots who have been known to ignore their controllers and move around the stage in an unpredictable fashion. Each Operabot is Wi-Fi controlled has three wheels and an omni- drive system, tilting heads and ten channels of lighting. There is a regular debate in opera about the use of amplification. Opera enthusiasts and purists decry and condemn the use of amplification and allege it corrupts the pure form. But those same critics take for granted to the use of electricity to light the performance. Much amplification of opera and classical music has been badly executed in the past giving a very poor acoustic experience. But the Media Lab researchers have harnessed computing power and new thinking in sound to create a high, quality


www.mondodr.com


sound field. Two main elements are the creation of an ambisonic environment and the use of a Wave Front – an array of small loudspeakers on the stage edge. The concept of ambisonics as a high resolution surround sound system was first suggested in the early ‘70s. But technology at that time did not allow the goal to be achieved. Ambisonics goes beyond the two channels of stereo or the five of 5.1 systems to create an ambisonic signal which can be processed and distributed to a large number of speakers throughout the auditorium. In Monte Carlo some 143 speakers were used to create full surround sound with height ‘periphony’. Coupled with the wave front speakers this allows precise aural positioning of a singer in space. But, does all this technology produce a good opera or is it simply an academic exercise to test the bounds of computing power? Death and the Powers succeeds at both. Strip away the robots, disembodied performance, lights, sound, etc and you have a very acceptable 90 minute opera with an interesting plot, well performed by the customary musicians and singers. But this opera also explores a series of new technologies that stretch the boundaries of opera and performance. Some of these technologies will find their way into our opera houses and theatres in the next 10 years. Others, such as Operabots may not be seen again.


David Staples | www.theatreprojects.com


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