“DIASPORA: NIGHT AT
THEATER MAY MEAN MORE THAN WATCHING”
by Celia Wren
[On 5 December 2010, I published an article on ROT called “Theater and Computers”
in which I discussed the uses computer technology was being put to in stage
performances and where I thought it might be going in the near future. I probably should have called the piece
“Theater and Computer-Age Technology” because there’s more to the field than
just computer-generated effects and computer-assisted visuals. In this article, Washington Post writer Celia Wren writes about a whole
performance festival centered on new technology, related to computer games and
social media, that are being melded with traditional theater techniques in
fascinating and imagination-provoking ways.
This article was originally published in the “Arts & Style” section
of the Washington Post on 4 May 2014.]
One
minute you’re a theatergoer, the next, you’re an avatar in a cyber-thriller.
Such
is the transformation one apparently undergoes at “15’000 Gray,” an interactive
production that is part of the Zeitgeist International Festival and Symposium,
running May 10-12 [2014] at the Goethe-Institut Washington and Georgetown
University’s Davis Performing Arts Center.
The
festival focuses on “Participatory Theater: The Intersection of Theater and
Social Action.” But that solemn rubric might not do justice to the adrenaline
quotient in “15’000 Gray,” which was devised by Machina Ex, a German company
that specializes in fusing theater with the principals of digital gaming.
“15’000 Gray” (the title refers to a radiation level) conjures up the
laboratory of a scientist named Professor Hovel, whose trailblazing discovery
is about to fall into bad guys’ hands. Audience members make decisions for the
scientist characters, racing to protect Hovel’s discovery before a bomb goes
off.
“Theater
performance and gaming-arts culture combine really well, because they give each
other something that the other is missing,” Philip Steimel, one of the leaders
of Machina Ex, said. Theater gives the computer- gaming format the immediacy
of live experience, he notes, while the fun vibe of gaming can counteract the
all-too-frequent assumption that theatergoing “has to be very earnest and
serious.”
Moreover,
added his colleague Laura Schaeffer, theater can bestow a mantle of social
significance that gaming culture covets. It is perhaps not surprising, then, as
Schaeffer says, that interest in theater-gaming hybrids “is skyrocketing!”
Well,
skyrocketing in Europe, perhaps.
“There
are more pockets of folks thinking and speaking about a more immersive
theatrical experience” in Europe than in the United States, says Washington
thespian Rachel Grossman, who is co-facilitating the Zeitgeist symposium.
Grossman recalls that when her company, Dog & Pony DC (“Beertown,” “A
Killing Game”) began staging its brand of interactive theater a few years ago,
“People thought we were crazy” even though such involve-the-spectator
experiences were hardly new.
But
there is increasing awareness among contemporary American audiences that
participatory productions constitute a valid subgenre of theater, says
Grossman. That uptick in recognition — combined with the fact that at least
some contemporary audiences appreciate being actively involved in culture (they
may well be tweeting and posting videos in their spare time) — lends an aura of
timeliness to this year’s Zeitgeist proceedings.
Launched
in 2011 by local director Gillian Drake, the Zeitgeist festival has been
co-produced annually by a group of local theater folk and European diplomatic
and cultural entities. Collaborating on this year’s edition of the project are
the Goethe-Institut Washington, the Austrian Cultural Forum Washington, the
Embassy of Switzerland, and — from the greasepaint side of the spectrum —
institutions including the Laboratory for Global Performance and Politics at
Georgetown University, the Shakespeare Theatre Company and Studio Theatre. (All
the festival’s events will be in English.)
Studio
is partnering on the “15’000 Gray” production. The Shakespeare Theatre is
helping to present “Coffee & Prejudice,” the Swiss company MerciMax’s
experiment in pairing an audience member and a performer, one-on-one, across a
table.
Georgetown’s
Laboratory for Global Performance and Politics is co-producing “Love Club,”
created by the Austrian troupe God’s Entertainment: In the piece, audience
members armed with devices reminiscent of gaming controls steer a make-out
session between two performers. The audience members can choose between four
instructions — touch, kiss, undress and “intensify” — says Georgetown professor
Natsu Onoda Power, who is directing the D.C. production. A performer can quit
whenever the intimacy becomes too uncomfortable. So, for the audience member
with the control, “You want your person to be romantically aggressive, but you
also have to gauge what the person’s boundaries are,” Onoda Power says.
“Love
Club” might sound like a very personal — not to say racy — project for a
festival that has proclaimed its interest in “social action.” But several of
the Zeitgeist organizers say that interactive theater implicitly poses
questions about civic and personal responsibility, power structures and even
democracy.
Expect
discussion of such matters at the May 12 symposium, in which Grossman will be
sharing facilitator duties with Georgetown’s Derek Goldman and with Michael
Rohd, who heads Sojourn Theatre, a company with a national scope.
“Even
if the content isn’t social justice-related,” participatory theater opens a
discussion about “responsibility, or what the rules are, or who is really in
control,” Goldman says. The format builds the audience’s sense of themselves
“as chroniclers of their own lives,” and “there’s a power to that,” he says.
The
Zeitgeist festival is of-the-moment. For international art with a
through-the-ages luster, you can turn to the upcoming D.C. appearances by the
Gundecha Brothers, virtuosos of the centuries-old Indian music form known as
Dhrupad. The Gundechas — two brothers sing; another accompanies them on the
pakhawaj, a two-headed drum — will give a concert at the National Museum of
American History on Sunday. Then, on Monday at the Embassy of India, the siblings
will preside over an evening devoted to Dhrupad appreciation.
Dhrupad
can be intensely meditative; it can also be stirring. Accompanied by drone
instruments, as well as — for some portions of the music — the pakhawaj, the
Gundecha vocalists sing in a duet format, known as jugalbandi, that involves
passing musical notes back and forth.
“You
feel as if one is handing it to the other. One elaborates on the other’s
[sound], improvises on it, and the other one picks it up from there. So there
has to be a perfect understanding [between performers], because it’s so
improvisational,” says Manjula Kumar, the Smithsonian project director who is
producing Sunday’s concert.
Kumar
has worked frequently with the Gundechas and has traveled to the academy they
teach at in Bhopal, India. She says even newcomers to Indian classical music
will enjoy the upcoming concert (to be live-streamed at museumstudies.si.edu). The Gundecha
Brothers’ art can touch everyone “because of its spirituality” and because it
speaks in “the universal language of music,” she says.
[Celia Wren is a freelance writer, editor,
journalist, and fiction writer who has worked in publishing since 1989. She has
held editorial positions at Harcourt and American Theatre magazine, and is presently a theater reviewer for
the Washington Post and a media critic for Commonweal. Her
journalism has appeared in the New York Times, the Village Voice,
Newsday, the Boston Globe, the New York Observer, the Richmond
Times-Dispatch, and elsewhere; her fiction has been published in American
Letters & Commentary, the Gettysburg Review, the Greensboro
Review, and Glimmer Train Stories. A fluent French-speaker with some
knowledge of Russian, Wren has lived in Moscow, Cairo, Beijing, Ottawa, and
Johannesburg, and has traveled in more than twenty countries in Africa, Asia,
and Europe. She holds a B.A. in literature from Harvard, an M.A. in creative
writing from Johns Hopkins, and a second-degree black belt in shotokan karate. Zeitgeist
International Festival and Symposium (www.zeitgeistdc.org)
ran from 10-12 May. Dhrupad: The Mysticism of Sound, with the
Gundecha Brothers, appeared on 4 May at the National Museum
of American History’s Warner Bros. Theater at 14th Street and Constitution
Avenue, N.W., in Washington. For more
information, visit museumstudies.si.edu
or e-mail kumarm@si.edu.]
* *
* *
“THE
LURE OF TECHNOLOGIES PAST”
by Nick Bilton
[This article on the
apparent return of an old technology, appeared in the New York Times on 17 March 2016 in “Disruptions,” section
D (“Thursday Styles”).]
For
a glimpse of what teenagers are into these days, all you have to do is
visit Abbot Kinney Boulevard in the Venice neighborhood of Los
Angeles. On weekend nights, the half-mile shopping drag is packed with
style-conscious kids who traipse past coffee shops, ice cream parlors and
boutiques, often while taking selfies.
Yet
one of the most popular destinations for these teenagers is a white,
single-story building with big pink letters on the roof that spell “Vnyl.” The
store sells vinyl records, and the kids who gather there are often in awe.
“I’d
say half of the teens who hang out in my store have never seen a record player
before,” said Nick Alt, the founder of Vnyl. “They will walk up to
the turntable, and they have no concept where to put the needle.” But once they
figure out that the needle goes into the outermost groove, those
smartphone-toting teenagers are hooked.
Whenever
a new technology comes out, we often believe it will make an older technology
obsolete. As a reporter who has been covering technology for The New York Times
for more than a decade, I’ve made such proclamations, saying that the iPad
would kill the Kindle (I later realized the error of my ways, and now own
both), that eBooks would be the death of print (I later reversed myself,
several times), and that driverless cars will make driving passé and allow us
to nap in the front seat (this has yet to be disproved).
But
what I’ve come to realize is that while the new thing gets people excited, the
old thing often doesn’t go away. And if it does, it takes a very long time to
meet its demise.
Just
look at film cameras. You would think they have been vanquished from the
planet, but millions of people still use them. In 2012, more than 35 million
rolls of camera film were sold, compared with 20 million the year before.
And
while Polaroid has filed for bankruptcy (twice) in the age of digital cameras,
the company is making a resurgence (again). One of Polaroid’s largest growing
demographics, surprisingly, is teenagers who want a tangible photo
but also don’t want to wait. (Polaroid has also become the go-to camera for
people who take nude photos and fear that their phones could be hacked.)
Other
types of physical media have also held on.
More
than 571 million print books were sold in the United States in 2014.
About 55 million newspapers still land on doorsteps every morning. As for those
vinyl records, 13 million LPs were sold in 2014, the highest count in
25 years, according to the Recording Industry Association of America. (Records
are also one of the few growth areas for the beleaguered industry.)
So
why does old tech survive and, in some cases, undergo a revival? For some
consumers, it’s about familiarity (e.g., newspapers and print books), while for
others, it’s about nostalgia (e.g., record players and film cameras).
For
example, I’ve been taking photos for over 25 years, and what made me fall in
love with photography was the dirt, grit and grime of film (I used to shoot
with Tri-X 3200 for the film nerds out there). And as much as I love my digital
cameras, I’ve been shooting with film again to capture some of that visceral
quality I no longer get with pixels.
The
resurgence of old tech doesn’t stop with physical media.
For
example, tens of millions of Americans still own a landline; millions of USB
thumb drives are still being used, even though you can store anything in the
cloud free; and people still use and buy tens of millions of flip
phones every year, including such notables as Mayor Bill de Blasio,
Anna Wintour, Warren Buffett, Iggy Pop and Rihanna. Pagers also never
completely died.
You’ve
probably heard the saying that the minute that you drive a car off a dealer’s
lot, it loses value. Well, that is no longer true for old cars. Some vintage
cars have increased in value by 500 percent. (One reason for this is that
younger car owners want to be able to fix and tinker with their own cars. Try
doing that with a Tesla, and you’ll void the warranty.)
Of
course, there are some outdated technologies that die a fateful death and never
return. I don’t know many people with a dedicated car phone, for example.
(Though I’m sure some hipster just posted one to Instagram.)
To
be fair, we have been wrongly predicting the demise of old technologies for
some time. In 1876, for example, when The New York Times first wrote about
the telephone, and later the phonograph, the writers of the day said that these
devices would empty the concert halls and churches, as no one would ever want
to leave home again.
And
yet, just this month, Diplo held a concert for an estimated half-million
people in Cuba. Something tells me that some of those people will also be
buying the performer’s album on vinyl.
[Nick Bilton writes about
technology, politics, business, and culture for Vanity Fair. He
is also a contributor to CNBC and the New York Times. This article is available
under the headline “Why Vinyl Records and Other ‘Old’ Technologies Die Hard” on
the Times’ website at http://www.nytimes.com/2016/03/17/style/vinyl-records-books-film-cameras-die-hard.html.]
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