Some uses of new technology in lyric theatre, in relation to intermedial mise en scene in theatrical staging, and the remediation of operatic media.

该项目探讨了技术变革给抒情剧院带来的挑战。通信技术正在影响人类经验中介方式的根本改变，基于数字信号处理原理的设备允许不同表达手段（如声音和图像）之间的新形式的融合和交换。我的兴趣在于探索技术如何扩展歌剧的可能性，激发其历史野心，在空间和时间、声音、图像、歌唱和表演等不同表达媒介之间创造抒情关系。这为我作为歌剧导演、布景设计师和多媒体作品作者的实践领域提出了许多问题。将声音实时转化为投影图像的设备，音乐家可以借此指导视觉结果，或者视觉艺术家可以塑造音乐，这显然有可能扩展歌剧的中间关系。冲动和表达之间的新关系挑战了传统歌剧表演中权威的等级模型，因为从理论上讲，指挥家、歌手、管弦乐队、场景背景等角色可以在所有参与者之间重新分配。其他新媒体，如网络，通过允许不同地点、表演者或观众之间的表现力交流，扩展了这一挑战，与传统的歌剧时空成分（如舞台拱门、管弦乐队坑、单一观众视角）形成鲜明对比。新技术和传统歌剧范式之间的紧张关系是我最关心的。研究将解决3个问题。新技术如何允许传统歌剧的等级媒体关系重新配置，以达到新的表达和交流目的？2. 新技术如何将抒情戏剧的表现力和交流能量转化为网络等新环境？新技术如何在抒情戏剧的传统时空组成部分之间建立新的关系？这些将被调查，1。通过使用MaxMsp/Jitter和Isadora等翻译软件对工作室进行调查，围绕三位作曲家的材料进行视听研究，选择他们与歌剧媒体的不同历史关系；2. 从工作坊发展到三部新的抒情戏剧作品的公开演出，测试新的中间关系和补救的潜力：1《Noces》：一部以戏剧为基础的作品，以斯特拉文斯基的作品-对等级关系的历史性解构-作为一系列10分钟表演“章节”的起点，重新配置核心抒情戏剧元素；舞者、歌手、钢琴家、指挥家、场景艺术家（如舞者从坑中指挥，钢琴家演奏仪式动作）和技术干预（如从动作中产生声音的数字翻译设备，新旧技术的中间组合，）以及舞台和准备环境的融合小屏幕上的歌剧：探索歌剧演唱的品质和表演的形体如何转化为非戏剧的结果，如画廊作品、网站对象或广播电视，使用接触即兴舞蹈、歌手和熟悉的摄像机技术来产生莫扎特歌剧四重奏的表演阅读，描绘争吵的情感视角《失落的和弦》：旨在打破抒情戏剧的传统时空成分，通过新技术将它们开放给关系配置，通过基于网络的远程通信和物理计算，将舞台歌剧元素去语境化，并将它们沉浸在其他空间环境中，围绕沙利文的歌曲《失落的和弦》进行修复，这是一个超越的中间连接的历史形象。研究将通过学术背景和公共表演传播。

The project explores the challenges for lyric theatre that are presented by technological change. Communucations technologies are effecting a fundamental alteration in how human experience is mediated, and devices based on the principle of Digital Signal Processing permit new forms of convergence and exchange between different expressive means, such as sound and image. My interest lies in exploring how technology can extend the possibilities of opera, stimulating its historic ambition to create lyric relationships between the different expressive media of space and time, sound, image, singing and performance. This raises a number of issues for my practice area as an opera director, scenic designer and author of multimedia works. Devices which translate sound into projected imagery in real-time, whereby a musician can direct visual outcome, or a visual artist shape music, have a clear potential for extending the intermedial relations of opera. New relationships between impulse and expression challenge hierarchical models of authority at work in traditional opera performance, since, in theory, the roles of conductor, singers, orchestra, scenic context etc can be reassigned across all participants. Other new media, eg the web, extend this challenge by allowing expressive exchange between different sites, performers or audiences, in contrast to opera's conventional time-space constituents eg proscenium arch, orchestra pit, a single audience point of view.This tension between new technologies and the paradigms of traditional opera is my central concern.Research will address 3 questions.1. How can new technologies allow the hierarchical media-relations of conventional opera to be re-configured to new expressive and communicative ends? 2. How do new technologies allow the expressive and communicative energies of lyric theatre to be translated into new environments such as the web?3. How do new technologies allow new relations to be made between the conventional time-space constituents of lyric theatre?These will be investigated, 1. through studio investigation using translation softwares such as MaxMsp/Jitter and Isadora, making audiovisual studies around material by three composers, chosen for their different historic relation to the media of opera; 2. through workshop development to public performance of three new lyric theatre works, testing potentials for new intermedial relations and remediation:1 Les Noces: a theatre-based work, taking Stravinsky's piece - an historic deconstruction of hierarchical relations - as a starting point for a series of 10 minute performed 'chapters', reconfiguring core lyric theatre elements: dancer, singer, pianist, conductor, scenic artist (eg a dancer conducting from the pit, a pianist enacting ritual movement) and technological interventions (eg digital translation devices producing sound from movement, intermedial combinations of new and old technologies,) and the merging of proscenium and preparation contexts.2 Opera for the small screen: explores how qualities of operatic singing and performance physicality can translate into a non-theatrical outcome, such as a gallery piece, web-site object, or broadcast TV, using Contact Improvisation dance, singers and familiar camcorder technology to generate performance readings of a Mozart opera quartet, depicting quarrelling emotional perspectives.3 The Lost Chord: aims to disrupt conventional time-space constituents of lyric theatre, opening them to relationships configured through new technology, decontextualising proscenium operatic elements and immersing them in other spatial contexts, with web-based remote communication and physical computing, built around a remediation of Sullivan's song The Lost Chord, a historic image of trancendental intermedial connection.Research will be disseminated through academic contexts and public performance.