Kateryna Iudova-Romanova
Abstract
This study examines how virtual reality images are used in contemporary theatre. Modern technologies get into various areas of life including the theatrical environment. Therefore, the study of the role of virtual reality in contemporary theatre is crucial for the qualitative understanding of the tendencies in development of the contemporary theatre scene in the context of the development of contemporary art. This determines the relevance of this study and subsequent academic research in this field as well. The purpose of this study is to assess the degree of influence of modern technologies on creating virtual reality in the development of theatrical art. The leading approach for this study is a combination of a systematic study of the main trends in the creation of virtual reality within the framework of the development of modern technologies and the logical construction of conclusions retrieved from the results of this study. The main results obtained in this study are supposed to be the identification of the main areas for creating virtual reality in the activities of contemporary theatres and changes in the work of theatre groups during the COVID-19 pandemic. Prospects for subsequent academic research in this field are determined by the increasing usage of modern technologies for creating virtual reality within the framework of the modern development of theatrical culture and the need for a deep study of this factor as the one that defines the prospects for the technological development of the contemporary theatre scene. The practical significance of this study lies in the possibility of using its results obtained to assess the role and place of modern technologies for creating virtual reality in contemporary theatre.
1 INTRODUCTION
Theatrical reality can also be defined as one of the virtual realities, and due to the inherent pluralism of perception of realities, it can be almost “the first among equals”. The realities of all kinds of arts intersect in theatre such as the realities of drama, direction, acting, audience perception, and so on. Different types of reality are talked about when asking whether or not a certain world exists (virtual, artistic, religious, esoteric), what are the specifics of this world and how it differs from other worlds [1, 2]. The term “virtual reality” of theatrical art is a product of the era of global informatisation of society, for the most part, it implies the historical and psychological aspect of the interpretation of “virtuality”, which is a universal cultural phenomenon. “Virtuality is one of those aspects of the culture of the future, where many developments of the 20th-century artistic avant-garde-modernist trends are actively used. This happened not only due to the undoubted every day and scientific auxiliary benefits of digital technology” [3].
In theatrical art, the modification of reality occurs not in one but in a great variety of structures. It happens due to the coexistence of various types of arts in the theatre and their synthesis. Therefore, it becomes necessary to simultaneously modify reality in a variety of ways [4]. The theatre generates extremely complex models of reality and deep social and psychological phenomena by using the languages and technologies of all art forms. It turns out that the theatrical model of reality is an extremely complex superstructure created from a huge number of smaller structures in virtual space [5]. At the same time, in contemporary theatre life, screen technologies, which are directly connected to the modern stage of development of visual arts, are gaining significance. These technologies inspire many artists with an opportunity to construct a virtual or semi-virtual art space, synthesising various forms and formats. Artists develop immersive techniques, which imply immersion in virtuality, or use the possibilities of augmented reality (AR), while seeing technologies as new means of expression. In art history discourse, the turn towards the integration of the digital component into the traditional artistic means raises questions about the development of meaning in a new context [6, 7]. The tendency of technical innovations to influence the language of art is associated mainly with rethinking the role of the artist in the creative process, as well as the emergence of new ways of viewer's interaction with the work of art. Contemporary artists work on the development of new borderline bodily and out-of-body experiences through virtual reality (VR) and AR technologies in their work [8, 9].
Therewith, modern computer and media technologies are crucial for scenography since they influence the quality of the production process. Lighting design is gaining more artistic expressiveness. The directors, competing in the “theatrical market”, use video projections, electronic decorations with multimedia screens, LED costumes and curtains, a variety of special light effects, structural elements and platforms with remote control in their stage productions [10]. The most common technique in scenography is the synthesis of arts as a sign of modernity and implementation of advanced technologies in the theatrical “visual era” of today [11]. Therewith, many talented authors have made efforts to make computer graphics a widely available stage tool and not only a promising idea. When working on a script for a performance, set designers engage in routine and creative work, which supposes performing technical calculations, layouts, drawing up an inventory of design, and preliminary estimates. Today, these problems can be solved dynamically by displaying the results on a monitor screen in an interactive way [12, 13].
When assessing the role and significance of VR in contemporary theatre, it should be noted that VR has been actively used in scientific and pseudoscientific fields that since the 1980s that led to assessments of this phenomenon as “hackneyed” by experts, representing the devaluation of “postmodernism” [14]. Turning science to the study of VR means the beginning of solving the problem of constructing a general theory of virtuality, which enables a positive determination of the idea of “VR” that should be taken as basic from among the existing ones [15]. Thus, the question about the role of VR at the present stage of development of theatrical scene remains open and requires deep and comprehensive study considering the importance of this technology for the further development of theatrical art in general.
In this study, the task is to investigate the role and place of VR in contemporary theatre within the framework of the current trends in the development of modern IT technologies for creating VR. The object of the study is modern technologies for creating VR through their usage in development of contemporary theatre scene.
2 LITERATURE REVIEW
A review of academic sources demonstrates a variety of approaches to the discussion of the subject matter of this study. In particular, Krivospitskaya [5] notes that in contemporary theatre new artistic methods of editing, which have emerged due to digital technologies, are the combination of animated virtual heroes and characters with live actors and their interaction. Special graphic programmes enable recreation of fantastic landscapes, surreal animals, appearance of the concept of projection virtual scenery in the theatre, and so on. Computer graphics help theatre to imitate real life brilliantly, immersing the audience into it. For its part, Stroeva and Aronin [9], in a joint study of trends in the development of visual arts under the influence of new screen technologies, indicate that the tendency to use AR is actively developing in media art around the world, which makes it possible to combine figurative images created in traditional materials of painting or graphics with virtual static or animated images. The viewer combines images with a tablet, or travels through the exhibition in virtual glasses that immerses them in a three-dimensional space of fine art.
However, Astafieva's study [11] points out that using computer programmes as a set designer's tool (like a pencil or a brush) and a material (like paint or clay) influences the artist's style and the way of thinking. Also, the artist, who is searching for greater expressiveness, influences the development of the visual possibilities of computer technology. Herewith, the researcher emphasises the presence of two types of artists who can use computer tools creatively: art media artists, whose object of reflection becomes not the real world but its image, and programmer artists, whose works resemble abstract compositions of the modernism era. The author extends a similar division to multimedia programmes for creating VR in contemporary theatre.
Bychkova [16] in the study of the evolutionary processes of means of expression in the cinema and the problems of cinema aesthetics, notes that nowadays expressive means of cinema and theatre are at the stage of development since cinema is a relatively new form of art that emerged in the 19th century. The genesis of screen culture, as well as stage culture, is directly related to the latest technologies, which are in constant dynamics due to technological progress. The modernisation of means of expression in the cinema and theatre continued throughout the 20th century. Notably, Maslov [15] in the study of the problems of the general theory of VR, emphasises the importance of accurate definition of the term “virtuality” in terms of its role and significance for contemporary theatre. The author claims that the use of the term “virtual” should be considered as not completely impeccable in relation to the discussed issues. This study views not the analysis of phenomena that have similar features but about the analysis of phenomena that share the same terms. In other words, VR in contemporary theatre presupposes the use of elements that have the same name but can differ significantly in essence.
In general, the literature review, which covers the studies related to the issues relevant for the subject matter, demonstrates both the importance of the issue of creating VR in contemporary theatre, and the variety of scientific available approaches to their solution at the moment. These circumstances determine the prospects for further research in this area that can considerably enrich the existing ideas on the issues of the place and role of VR in contemporary theatre.
3 MATERIALS AND METHODS
A systematic study of the current trends in the creation of VR using the methods of existing technologies enables an objective assessment of the role and significance of VR in contemporary theatre and the possibilities of improving existing technological solutions that can qualitatively enhance the viewer's level of perception of theatrical performances that are using these technologies. In contemporary theatrical performances, IT-technologies of Motion Capture are actively used, they can create a VR of human movement quite accurately and enable a qualitative solution of the problems of achieving the highest possible level of realism of computer characters. Motion Capture VR technology is a very expensive alternative to conventional 3D graphics and chroma key (green/blue screens). It is a high-quality tool for creating VR in 3D graphics, computer games, cinema, and theatre at the moment. The materials of this study include an analysis of scientific developments in the research of the Motion Capture technology of creating a VR alongside bringing the results of this study into the system followed by a logical construction of conclusions reflecting the essence of the results of this study. In general, the selected combination of materials and methods for this study fully corresponds to the subject matter and contributes to the high-quality discussion of the issues under study.
Considering the fact that technologies for creating VR in general and Motion Capture IT-technology Motion Capture in particular are just start to gain popularity as an effective tool for creating VR in the field of theatre, cinema, and computer games, research on the creation of technological solutions for the effective use of these technologies in these fields is significant for identifying the positive aspects of their influence on the viewer's consciousness and creating the necessary impression for a full-fledged perception of the stage performance. In this context, the selected combination of materials and methods for the study of these issues contributes to the high-quality discussion of the problems related to the subject matter, and the development of ideas about the possibilities of modern 3D technologies for creating VR in relation to the contemporary theatre scene and outline of the prospects for the further development of the theatre. It seems appropriate to recommend the use of this combination of materials and methods of study for further research in the field mentioned in this study.
4 RESULTS
4.1 Characteristic of the VR Technologies
Contemporary theatre is a synthetic art, which implies that it can become the point of convergence performing arts, literature, music, visual arts, and technology at any given moment. Currently, theatrical art is closely related to technologies for creating VR, which is visible at various levels—from technical and utilitarian to specific concepts. Today, VR is rapidly acquiring certain theatrical features, and the theatre borrows from the technologies for creating VR the latest techniques and methods of implementing innovative projects. VR technologies have appeared in the 1960s and became popular 20–30 years after, in the 1980s and 1990s. These technologies are very diverse even though they are united by the use of a computer as a technical means and the fact that they produce an effect of immersion. The essence of this effect is that the viewer is not feeling like an external observer and is immersed in a virtual environment instead, while beginning to perceive it as a real world. In this context, it is important to emphasise the IT technology of digital recording Motion Capture as a tool for creating VR in a contemporary theatre.
The technology, which is now called “motion capture”, was initially introduced into the cinema when creating animated films: The movements of drawn characters were copied from performers many decades before the advent of computer graphics. Today, the term “motion capture” is gradually being replaced in the world of cinema by another one—“performance capture”, which emphasises the leading role of the performer in creating a virtual image. The first experiments towards developing a system of “motion capture” in the early 1980s began by professor of Simon Fraser University T. W. Calvert [17]. Calvert focused on the study of the human body, which, in turn, was supposed to help solve medical problems and help choreographers train dancers [17]. At present, this technology is widely used in cinema to create animated images, but in the world of theatrical and performance art, motion capture technology has not yet found widespread use.
A project called “Dialogue between an actor and a digital avatar” became unique for stage practices, the purpose of which was to popularise motion capture technology in Ukraine. The presentation took place in the form of master classes for students of theatre universities and theatre specialists in Kharkiv, Kyiv, and Dnipro. The leading speaker of the project was the French director, theatre researcher, and teacher Georges Gagneré, who has been experimenting with motion capture technologies in theatrical art since 2014. In 2019, he held his workshop using the motion capture system. Within the framework of the project, the play “Shadow” by Georges Gagneré was presented, which is based on the fairy tale by H. Cr. Andersen. It was streamed online by about 1,700 viewers. The experience gained by the theatre community has shown new opportunities for the introduction of innovative technologies, prompting the Ukrainian theatre to new searches and experiments in this area.
The principle of animating virtual characters is as follows: Actors attach a special system of sensors-microphones to their rehearsal clothes (there were two of them in the workshop), which gathers data on human movements and transmits them using Wi-Fi to a computer processor with a corresponding software. The processed data is then transferred to the screen in the form of a 3D image. All processes take place in real time. In this case, the action takes place simultaneously both on stage and in 3D virtual space on the screen. An actor, dressed in a motion capture costume, sees the animated character on the screen and thus can control his actions (Figure 1). At the same time, actors without costumes can interact with a virtual character in real time, and viewers can interact with performers through a video surveillance system. In addition, the movements of the character can be recorded and played later in a certain sequence, which will help create the illusion of a live interaction between a live actor and a virtual one. If necessary, the image can be remotely projected on any surfaces, which becomes especially relevant in a pandemic.
Fig. 1. On the picture: Iryna Mishyna, actress of the “May be” theatre.
This technology is becoming relevant due to the gradual transformation of the performing arts in the context of the COVID-19 pandemic. This technology works when various sensors are placed on the actor to record one's movements. Afterwards the actor performs one's role in front of the cameras. Cameras and sensors record all the actor's movements and after that, experts transfer them onto a three-dimensional character, which becomes lively and convincing. Therewith, usage of this technology causes certain difficulties that can be resolved by methods for creating VR.
The crucial feature of the technology for creating VR is the development of an interactive environment. While being in VR, a person will be able to influence the world around, which enables a scenario of interaction with it. Involvement in the virtual environment determines the need to represent the human body in the surrounding space. From this standpoint, the convergence of technologies of contemporary theatre and VR seems logical. European theatre has existed for about 2.500 years, demonstrating flexibility and a strive for change throughout this period. At the same time, the changes influence not only the theatre itself but also ideas about its essence. This is especially noticeable in the context of the COVID-19 pandemic and the restrictions in the work of contemporary theatres.
Table 1 provides comparison of the specifics of the transformation of theatrical art during the COVID-19 pandemic in the context of the use of digital motion recording IT technologies in theatres.
| Before pandemic | At the present moments | |
|---|---|---|
| Attendance | Regular | Significantly declined |
| Dates of the performances | Strictly adhered to | Moved and cancelled |
| Placement of viewers during performances | Using all the space in the hall | In staggered rows with keeping a safe distance |
| Use of IT technologies for digital motion recordings | Were used rarely to enhance the spectacle | Became widespread due to the restrictions in means of expression |
Table 1. Changes in the Work of Contemporary Theatres due to the COVID-19 Pandemic
4.2 Features of Expanding the Stage Opportunities of Contemporary Theatre
Contemporary theatre has a higher level of interactivity if compared to cinema and painting. There is a direct impact of the performance on the viewer, while the reaction of the audience influences the performance of the actors. Furthermore, in the context of the COVID-19 pandemic, the theatrical production of performances has undergone some changes due to the forced transition of many theatre groups to work under restrictions and the need to search for new expressive means of theatrical production. In general, the use of digital motion recording IT technologies in theatres within the framework of the transformation of theatrical art in the context of the COVID-19 pandemic helps to effectively solve the following problems:
(1) | The need to establish remote contact with the audience during the forced closure of the main stages of theatres. | ||||
(2) | The need to search for new opportunities for artistic expression in the current situation. | ||||
(3) | Expansion of stage opportunities for displaying artistic images due to modern technological solutions. | ||||
The spread of coronavirus infection forced numerous cultural organisations, including theatres, to move on to exploring the possibilities of using alternative digital platforms, as well as technologies for creating VR to continue their creative work. If similar technologies for creating VR previously were required in specific niches, now they have become widespread and are used in the activities of well-known theatre groups such as the Metropolitan Opera and Cleveland Ballet, which have introduced online broadcasts of their performances using modern technologies for creating VR. On March 27, 2020, the Bolshoi Theatre began a series of online broadcasts of previously recorded performances from its “golden fund” for the first time in history. The live broadcasts took place on the official YouTube channel of the Bolshoi Theatre with no geographical restrictions. After the live broadcast ended, the recordings were available for another 24 hours. The first six online performances gained about 3 million views from 134 countries. The total number of views as of April 13, 2020 was 6.5 million.
Technologies for creating VR are actively used in the work of Kyiv theatres, which were forced to go online and postpone some of their performances for an uncertain period. Therewith, the online mode is the only attainable opportunity for theatres to maintain their creative activity and live up to the creative potential at their disposal. Thus, for example, the Lesia Ukrainka National Academic Theatre of Russian Drama, like many other theatres in Ukraine, created a page “Virtual Theatre” on its website [18], where from April 25, 2020 to June 9, 2020 viewers were offered to watch video recordings of theatre performances.
For some theatrical groups, the period of quarantine restrictions has become not only a time of difficult trials, organisational and economic challenges, but at the same time the search for new artistic and staging forms, creative organisational techniques and experiments towards the integration of visual and performing arts. An example of the transformation and extrapolation of a theatrical performance into the format of an online presentation using 3D technologies was the art project of the creative team of the Kyiv collective “Theatre 360 Degrees”. The play “The Stone Lord” based on the eponymous poetic drama by Lesia Ukrainka became a precedent in Ukraine for showing a video version of a theatrical production with the integration of 3D copies of actors and scenery in it. The premiere of the stage version of the play took place on February 29, 2020 at the Kyiv Academic Drama Theatre on Podil. But the successful stage existence of the performance was abruptly interrupted by the imposition of quarantine restrictions.
Then, to create its 3D version, the actors had not only to perform scenes from the play in front of the cameras for two shooting days in a row, but also to become prototypes of their 3D copies [19]. The organisers of the project position it as a combination of innovation, fantasy, and “fusion—a combination of a classical play with the state-of-the-art technology” [20]. The technology used allowed introducing 3D copies of the actors into the theatrical performance, and the audience was given the opportunity to watch the theatrical performance adapted to video viewing on a smartphone or computer in a form as close as possible to offline perception. The concept of working on the project consisted of recording a theatrical performance as a film with the subsequent integration of 3D technologies into it. At the same time, the spectators of the video version of the performance perceived the work not from a single frontal angle, as is usually the case in the theatre, but around the entire circumference of 360 degrees. The technologies involved in scanning people, objects, and environmental elements allowed transferring the real world of the theatre into VR, and vice versa, the decoration design, which embodied the artistic image of the inanimate world, presented in the form of sculptures, transformed into living, volumetric forms, and turned some characters into sculptures. The performance, transformed and extrapolated into the virtual world, provided an opportunity to create such new artistic solutions that were impossible in the conditions of a theatrical performance. On November 17, 2020, the premiere of the play “The Stone Master” based on the eponymous poetic drama by Lesia Ukrainka took place in VR format. Continuing cooperation with the Kyiv Drama Theatre on Podil, the team of the art project “Theatre 360 Degrees” from April 1 to 10, 2021 exhibited another play for viewers (online and free of charge)—“The Overcoat” based on the story of N. V. Hohol.
4.3 Specifics of the Technologies for Creating VR in the Contemporary Theatres
Technologies for creating VR have been widely used in the activities of contemporary theatrical company as an effective tool for reflecting the director's intention, considering how conditions have changed the life of theatrical companies. Figure 2 shows the main ways of use of technologies for creating VR in the activities of modern theatres.
Fig. 2. The main areas of use of technologies for creating VR in the activities of contemporary theatres.
VR technology is in the scene of contemporary theatre for not so long ago. Laurel, Strickland, and Tow [21] launched the “Placeholder” project. The technologies of this project have been applied in theatres in the United States since they allow interacting with the space from any place (Figures 3–5).
Fig. 3. Technologies for creating VR of the “Placeholder” project in action.
Fig. 4. VR imagery from “Placeholder” in American theatre.
Fig. 5. Drawings of the ancient Inca tribe created specifically for the performance of the US theatre using VR technology.
Technologies for creating VR in contemporary theatres have a tendency to change and improve constantly alongside the development of modern technologies. The theatre may expand the range of using IT-technologies such as Motion Capture in future with the gradual displacement of live acting and the transition to virtual stage images. Similar experiments have been conducted in theatres of different countries, particularly in Japan, and they were successful. At the same time, most theatre companies use VR technologies in their productions as secondary means, which means the preservation of the traditions of live theatrical performance and the culture of live acting in the future.
5 DISCUSSION
The issues related to the role and place of technologies for creating VR in the contemporary theatre are widely discussed in modern academic literature, specifically, in the studies that touch on the listed aspects. For example, Krivospitskaya [22] in the study of certain aspects of the virtuality of theatrical art, notes that theatrical culture in its various manifestations has prepared and anticipated the development of the theory of the virtuality of theatrical art through history. This was facilitated by the specificities of theatrical art, which unites all forms of arts, which, in their turn, use the latest technologies, which generate the broad possibilities for influencing a person [23]. Thus, the interaction between the viewer and the actor in a modern technically equipped stage space has emphasised different aspects not only of success of this interaction but of the processes of the influence of art on a person as well. However, Braslavsky [24], upon exploring various aspects of the relationship between theatre and VR, points out that VR in general should be considered as one of the constituent parts of contemporary art, tracing this process from the cave painting to the theatre stage through the movie screen and to the modern computer monitor. In addition, the author emphasises that the idea of using the body has been the primary concept from the very beginning of the development of VR technology. Nowadays, various components of VR systems allow both “introducing” a body into an artificial environment and providing a reverse effect. Devices of the first type include sensors placed on hand and head, gloves that track the position of each finger, and pupil position sensors. The second group consists of force feedback devices, simulators of surface (tactile, pain, temperature) sensitivity, and suits for simulating overloads [25].
When exploring the problems of the general theory of VR, Maslov [15] emphasises the absence of clear criteria for assessing VR and its definition in general in modern methodology. According to the scholar, the answer to the question about the general theory of VR that unites many factors is significantly complicated by the fact that there is no simultaneously essential and clear classification of various existing ideas about VR at the moment. These circumstances significantly complicate the assessment of the real place of VR in contemporary theatre and its role in the development of the theatrical scene. In this context, Bychkova [16] investigated various aspects of the evolution of means of expression in theatre and cinema. According to the scholar, the evolution of means of expression in theatre and cinema is largely associated with technical progress and with the development of new technologies in video filming and computer graphics. Over the past two decades, the fascination with the possibilities of digital processing of material sometimes happened at the expense of the content depth. However, complex works of art are created on a high artistic level with a harmonious approach to the depicted material and the prospects for its visualisation [26, 27].
An important place in the study of these issues is occupied by the works of scholars from other countries who study the problems of the role of VR in contemporary theatre and the scale of its practical implementation. For example, a team of scholars represented by Fink et al. [28], in a joint study of the prospects for teaching a modern graphics pipeline using visualisation software, pay attention to the fact that in modern times, technologies for creating visual reality using software computer graphics have broad perspectives in various forms of art, including theatre. According to Sodhro et al. [29], who studied the use of artificial intelligence in communications and indirectly touched upon the subject matter, the possibilities of technologies for creating VR in modern culture are almost unlimited and have great prospects. In their turn, Sherman and Craig [30] when studying the issues of VR in relation to various fields of activity, note the variety of possibilities for its application and broad prospects for the introduction of technologies for creating VR to various fields. Scholars note that technologies for creating VR, applied in a different way, and modern technological innovations help to improve perception and positively affect the development of various spheres of life. The authors emphasise that recently VR technologies have advanced significantly, which only accentuates the prospects for their use.
Egger and Chen [31] emphasise that technologies for creating VR play an important role in the life of modern society and its various areas. According to scholars, the spread of information and communication technologies lead to the phenomenon of the collective virtual, which is a VR created by a large number of people. This phenomenon is directly related to the use of technologies for creating VR in contemporary theatre. Thus, the scholarly discussion of the problems presented in this study shows that the research of VR in relation to the activities of contemporary theatre in particular and life of society as a whole is significant both for assessing the prospects for the development of contemporary theatre and for determining the place of discussed technologies in it. This only emphasises the relevance of the subject matter and the need for its further research.
6 CONCLUSIONS
Technologies for creating VR in relation to the contemporary theatre have recently received a significant impetus to development due to the spread of the coronavirus pandemic and the transition of almost all theatres to remote work combined with the massive cancellation and postponement of planned theatrical performances. In this context, the use of IT-technologies for digital recording of movements has become particularly relevant, which allows introducing modern technological solutions to implement special effects when organising theatrical performances or when broadcasting online theatre performances. Notably, due to the accelerated technocratic development of modern society technologies for creating VR are also gradually included in the process of creating a live theatrical performance and gradually becoming its separate part.
Many theatres began to broadcast their own performances online, attracting a huge audience of viewers in dozens of countries around the world. This allows considerably expanding the audiences of specific theatres and has a positive effect on their authority in the world community. Technologies for creating VR in relation to the development and life of contemporary theatre can significantly diversify and enrich this form of art, while becoming the most important elements of its further structural development. Further research in this field can qualitatively expand the existing ideas regarding the role and place of VR in the life of contemporary theatre and become a reliable high-quality basis for further development and interpenetration of these two concepts.
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Index Terms
- Virtual Reality in Contemporary Theatre
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