XR Audience Centred Design - The Future of Immersive Theatre

XR 以观众为中心的设计 - 沉浸式剧院的未来

• 批准号: 133753
• 金额: $ 5.53万
• 依托单位: LIMBIK LIMITED
• 依托单位国家: 英国
• 项目类别: Feasibility Studies
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=133753
• 关键词: XR; Audience; Centred; Design; Future

"The future is digital: how would audiences like technology to integrate with theatre? _Fatherland XR_ brings together live theatre performance with cutting-edge digital technology - blurring the barrier between reality and virtual reality. For the first time, in a theatre setting, a whole audience can enjoy a virtual reality experience at the same time - without the need for everyone to wear a headset. Headsets are problematic, they are a barrier for many, and a significant number of theatregoers are reluctant to engage with them. By putting the audience at the heart of the design, we now want to continue to push the boundaries of technology - asking what our audience would like next, and how we can design the experience to best suit them.Our approach uses the same technology that creates animated avatars in films. Using motion capture, we create characters, scenes and imagery in a virtual reality headset, live onstage. An actor onstage wears trackers on their body, so they can be projected into the virtual reality. Audience volunteers wear a headset and interact simultaneously with the onstage actor and with their character portrayed in virtual reality. The rest of the audience sees the volunteers' experience projected on to giant screens. The audience thus see double: both the reality of what is unfolding onstage between the actor and the headset-wearing volunteer, and how that action takes shape in virtual reality. At different stages of the performance, other volunteers are asked to take part and engage in the development of the story.By putting the audience at the heart of the design, we can test a number of different technological and theatrical possibilities to understand which are preferable to the audience. _Fatherland_, in its original concept, provided a revolutionary way for theatregoers to experience VR without the need to use a headset. This next step allows us to do feasibility and audience testing to ensure that future advancements are developed with the audience's needs and priorities at the heart of the design. This allows us to focus not on what the technology could -- or should -- do, but what our audience want it to do. Through this process of discovery, we will add definition to this newly emerging technology. The project will develop performance with audience's needs centrally in mind, allowing us to deliver exciting innovative theatre to delight those it was designed for - it's audience."

“未来是数字化的：观众会喜欢科技如何与剧院融合？《Fatherland XR_》将现场戏剧表演与尖端数字技术结合在一起，模糊了现实与虚拟现实之间的界限。第一次，在剧院环境中，全体观众可以同时享受虚拟现实体验，而不需要每个人都佩戴耳机。耳机是有问题的，对许多人来说是一个障碍，相当多的观众不愿意参与其中 和他们在一起。通过将观众置于设计的核心，我们现在希望继续突破技术的界限 - 询问观众接下来想要什么，以及我们如何设计最适合他们的体验。我们的方法使用与在电影中创建动画头像相同的技术。使用动作捕捉，我们在舞台上的虚拟现实耳机中创建角色、场景和图像。舞台上的演员在身上佩戴追踪器，这样他们就可以被投射到虚拟中 现实。观众志愿者戴着耳机，与舞台上的演员以及虚拟现实中描绘的角色同时互动。其他观众看到志愿者的经历投射到大屏幕上。因此，观众会看到双重内容：既是演员和佩戴耳机的志愿者之间在舞台上展开的现实，又是如何在虚拟现实中形成该动作。在表演的不同阶段，会询问其他志愿者 参与并参与故事的发展。通过将观众置于设计的核心，我们可以测试许多不同的技术和戏剧可能性，以了解哪些更适合观众。 《祖国》的最初概念为观众提供了一种无需使用耳机即可体验 VR 的革命性方式。下一步使我们能够进行可行性和受众测试，以确保未来的进步是根据受众的需求和优先事项来开发的 设计的核心。这使我们不再关注技术可以或应该做什么，而是关注我们的受众希望它做什么。通过这个发现过程，我们将为这项新兴技术添加定义。该项目将以观众的需求为中心来发展表演，使我们能够提供令人兴奋的创新剧院，以取悦它的设计目标——观众。”