the screens, a review of digital theater by jessica peri chalmers
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"The LapsburghLayover": TrippyTheater
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The ScreensAll the World's a Cyber Stage: The State of Online Theater
ByJessica ChalmersTuesday, Dec 8 1998
Watery-looking clouds move haltingly across the computer screen. The Net-fed image, pixilating
frequently into tiny, painterly cubes of digital cumulus, delights Rae C. Wright, the author ofArt
Thief a live performance made accessible to screens internationally via Franklin Furnace. "I
ove these clouds," she announces, "I think they are so beautiful in this medium . . . and I stole
hem." Wright's singsong narration boasts that most of her content was taken from other artists,
ncludingAnna Mosby Coleman (the clouds), Deb Margolin (photographs of children), and
Halona Hilbertz (an altered section of a previous online project). Wright's idea is that all art
making is a form of thievery, ambiguity of ownership being a particularly keen issue to artists
working through the Net, where every user's screen is a potential resource for image capture. Herappropriation is an expression of the freedoms and uncertainties of this infant form Netcasting
and its singular mix of live performance, animation, video, and chat.
Use of the Internet by artists and theater makers
has met with only variable success so far. The
medium promises great things body
ranscendence and omnipresence but on
practical terms, this has usually translated into
edious rounds of clicking and waiting. And the
novelty of the technology itself often upstages
he content. The best live stage performances
enable the transcendence of the body through
what Artaud coined (yes, in the '30s) theater's
virtual reality." But today's cybertheater still
has a ways to go in its own scenario of romantic
ransport.
We're in a phase where we're testing the
concept," says Kathy Brew, director of Thunder-
gulch, a new media-arts center on Broad Street.
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Experiments have been valuable, if nothing else
because they express something about the crush
hat art currently has on technology. If
post
rifts in the collective consciousness, there is a
sense among Net artists that their work
responds to today's real and surreal conditions.
According to Monika Wunderer, a dramaturge
and performer for international virtual projects,
online performance illustrates "global thinking."
Artist Adrianne Wortzel's work with robots is partly a meditation on surveillance tech, in whose
spying eyes, she says, "we are all actors in the theater that's the world."
Franklin Furnace is a pioneer in the field. The performance space closed its Tribeca location in
February of 1997, reconstituting itself as a virtual institution. For Martha Wilson, the Furnace's
ongtime director, the transformation has been formidable. After all, the performance art the
organization had supported since 1976 was predicated on the raw shock of live presence: Annie
Sprinkle's cervix, Penny Arcade ranting, Karen Finleyin the throes of trembling horror. By
contrast, Netcasting is smaller (the RealPlayer viewer used to transmit the pieces is only three
nches by two and a half inches on your screen), safer (no sprinkles from Sprinkle), and happens
at a technological remove.
The "live-ness" of cyber performance centers around chat: the real-time, text-based
communication between logged-on viewers and the performer. Martha Wilson calls chat "the
sore spot in Netcasting practice." It's had mixed results on Pseudo Programs, Franklin Furnace's
30-channel hub. Some performers, busy with their material, have chosen to ignore the chat
element altogether, while others have integrated audience response like Anna Mosby Coleman,
who sang the scrolling chat. The "lullaby of the indiscriminate," according to Dia Web-artist
Kristin Lucas, chat can bring out people's bratty propensities. Wunderer notes that just as
children need to be taught how to clap and hush appropriately at the theater, a non-Web-
acclimated adult audience needs to be taught the protocol of telepresence and the anonymity it
sometimes entails. Pseudo's non-moderated sessions have veered from the sort of questioning
you might expect from a phone-in show, to base wolfishness ("The comments on Halona
Hilbertz's walking piece never rose above 'nice butt'," Wilson reports), to general apathy towards
he ongoing performance.
f parallel editing and slow motion in film once heightened and made sport of our experience of
ime, the Net's mind-bending promise is to muck with space and distance. It's not quite there yet,
but certain groups and individuals are making intriguing, even visionary use of remote
participation on the Net. Cu-SeeMe, the desktop video conferencing system, seems to be the tool
of choice in this regard, since it offers fairly decent connectivity with minimum bandwidth. Users
can transmit audio and video images through the Internet pretty painlessly, and in performance
he four-level gray-scale rectangles are little windows projecting scenes from different worlds.
Adrianne Wortzel 's recent Sayonara Diorama at Lehman College's Lovinger Theater projected a
series of Cu-SeeMe windows onto a 12-foot-by-12-foot screen. There were puppets coming in
from London, toys from Finland, a street cam from New York, and, for a time, one anonymous
member of the Quickcam-owning public. In addition to integrating these foreign points of view,
his dance opera about Darwin and the birth of a new species also projected the views of several
remotely controlled, camera-bearing robots who roamed the stage.
The award for the grandest, though not fully implemented, scheme for worldwide performance
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goes to Oudeis , a project for which Wunderer is dramaturge. Involving participants in Canada,
Hawaii, Australia,Austria, Germany, and Argentina, Oudeis truncates Odysseus's fabled years-
ong journey into global e-mail routing time about an hour. During initial performances at the
Museum of Modern ArtinViennaand at the '97 Ars Electronica festival in Linz, Austria,
audience members could either watch an actress deliver lines in German in front of a large screen
showing Shockwave animations, or they could make use of the available terminals to follow the
performance, somewhat differently presented and in several languages, on ATHEMoo, the text-
based virtual environment sponsored by theAssociation for Theaterin Higher Education. The
ultimate goal is to have several staged performances going on at the same time, in different
countries but linked through the Internet. The idea, a mind-boggling one if you think of the
ogistics, is that, using sensors and Net-linked mikes, the same dialogue might be heard
simultaneously on all stages. Each audience, however, would view just a portion of the live cast
so that maybe only the nurse and Penelope would be onstage in Vienna, the actor playing
Odysseus would be in New York, Telemachus in Ljubljana, and the rapacious suitors still
elsewhere. The absent actors would be represented by tall "light cones" that, the organizers hope,
will flash colors to indicate revenge, longing, welcome, and other Homeric sentiments.
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8/2/2019 The Screens, a review of Digital Theater by Jessica Peri Chalmers
4/4
creens - Page 1 - Theater - New York - Village Voice
www villagevoice com/1998 12 08/theater/the screens/[9/16/118:40:10 AM]
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