Virtual Reality in Theatre and Contemporary Performing Arts
Written by Matthew Beswick, June 2005
Introduction and Background
From Shakespeare to Musicals, Opera, Variety, and Physical Theatre, the arts have always invested the use of ranging techniques. Stage lighting and special effects such as pyrotechnics are now commonly used to broaden the atmosphere of any given performance. In addition, computer aided graphics and environments are becoming increasingly common, with Directors and Performance Groups using new found technology to enhance old techniques. “Theatre is the original virtual reality machine. Accessing it, audiences visit imaginary worlds which are interactive and immersive.”(1) So what happens when the original form of VR meets modern day, computer generated VR?
“The question isn't whether the created world is as real as the physical world, but whether the created world is real enough for you to suspend your disbelief for a period of time.”(2) In using Virtual Reality to create theatrical environments, be this for performances such as those seen in Shakespearean times, contemporary performance, or online performance.(4) To put this into
context, it is now possible to create virtual theatres which house ‘avatars’, which are effectively representations of a person. Through this an ‘online’ collaborative performance, as seen in (6) could be undertaken. Aside from this possibility, the use of Virtual Reality in theatre performance, such as that used by Blast Theory(3) is a means by which to enhance conventional theatre using contemporary techniques.
In these uses we see that even when augmented reality is being used, as with Blast Theory, the aim is always to create an immersive environment, and in context with theatrical arts we see that “through its immersive dimension, VR inaugurates a new relation between computers and art.”(6) Through immersing the user in their virtual environment, whether it by on their screen or in a theatre, we are taking the entire idea of performance to the next level.
Sutherland (1962) stated that "One must look at a display screen as a window through which one beholds a virtual world. The challenge to computer graphics is to make the picture in the window look real, sound real and the objects act real." Even now, over 40 years on, this statement still rings true. Today, however, it seems that we are extremely close to accomplishing this goal. In the ‘Virtual Theatre Project’(4) we see that it is now possible to move completely away from a ‘real’ environment, and actually view performance through our computer screens in real time. Collaboration between actors, displayed as avatars, is possible across the world with audiences from anywhere being able to view this.
The importance of this collaboration becomes clear when we realize that “The Internet is a network of networks, linking computers to computers sharing the TCP/IP protocols. Each runs software to provide or "serve" information and/or to access and view information.”(7) Key words in this sentence are ‘sharing’ and ‘information’, which show exactly why the internet was originally created and has grown so popular. Contrary to his statement (8), Al Gore did not create the internet – it was originally brought online in 1969 as ‘ARPANET’ and connected
four American Universities together. In essence it was a nuclear proof solution to sharing information which has grown and matured over the years. But what relevance does this have to Virtual Reality and Performance Theatre?
As stated earlier, the internet is a resource for sharing resources – including those which entertain. Through the combination of this massive digital resource and conventional theatre, there is the possibility for a completely immersive new form of entertainment. Effectively, we are moving closer and closer to Sutherland’s original statement, made before the internet had even been created. Currently, however, there is still someway to go. “Perhaps more than other
users, actors can meet the technology half-way, forgiving it for some the constraints”(9), and it is these constraints which keep online Virtual Theatre from replacing its conventional counterpart.
Any Virtual Reality System must take an input, process it, render the results, and update the ‘World Database’, and it is these stages which each pose a problem. “Every delay in response time degrades the feeling of 'presence' and reality of the simulation.”(10) When using the internet as a resource, connection speeds are a huge issue, with broadband only just becoming common place in many countries. Statistics show that by August the UK will have over 50% of its internet users connected by broadband(12), but what about everyone else? “Presence is crucial to the successful implementation of virtual environments within the performing arts”(9), and if a Virtual Reality system cannot update and render an environment fast enough, this presence is lost.
Undertaking an online production, however, is not the only aspect of virtual reality which can be used in conjunction with the arts. “There are many (potential) applications of virtual environment technologies and techniques in the world of performing arts. These range from the initial design stage to the final performance.”(9) In the world of stage design, ensuring everything is completely perfect, and through the use of Virtual Reality it becomes possible to create a ‘Virtual’ stage instead of producing a real life model. “Assembling a simulation saves time in comparison to the construction of a real model”(13), and so an increase in productivity when undertaking the initial design stages will inevitably be seen.
Another option as opposed to creating an entirely ‘Virtual Model’ is to use the concept of Mixed Reality. Combining a real model which generates lighting and effects with a ‘Virtual’ set of ‘avatars’ creates an extremely flexible set of possibilities. The ‘Mixed Reality Stage’(14) is one example of this use. Combining all of these findings shows that there is a vast array of possibilities for the use of VR with Performance Art.
Model Creation Process Critique and Reflection
In creating a model with the concept of an entirely virtual stage in mind, several issues needed to be taken into account. With both the ‘Mixed Reality’ and ‘Virtual’ options in mind, it became clear that there would be four main deliverables needed:
1. An avatar (Including Animation)
2. The stage
3. Lighting
4. Camera Positions
The primary aim was to complete the avatar and stage as these were the most important features within the environment. In a working VRML solution these would provide the main viewable content from which an outside user could work from. Although the model would not be based on an actual performance, the realism side of things was still extremely important, and so a ‘realistic’ figure of a person needed to be produced. Obviously, bearing time constraints in mind and the fact that I personally had never done 3-D modelling before meant that Wodaski’s comments(2) were at the forefront of my mind. The importance here was to create a workable solution, not a perfect one.
The main stages of creating the avatar involved the torso, head, and clothes being created separately. In doing this a clear modelling process was undertaken which helped ensure that things were kept as realistic as possible. Using 3DS Max, ‘Modifiers’ could be added to the mesh to ensure that the number of Vertices stayed as low as possible. In doing this it ensures that
the end file size and complexity is low enough for VRML players to handle. An example of possible limitations is seen in the blaxxun contact 3d direct where “Shapes with more than 1024 (hardware) / 2020 vertices (software) or colour per face requires some extra pre-processing.”(15)
Secondly, the creation of the stage required a far simpler process. A box was created with a total of 27 sections, which was then cut in half and assigned a ‘symmetry’ modifier. This cube was then altered into the shape of the stage, and finalized. Once this had been completed, the process of animating the avatar could begin, which first needed to be assigned a ‘skeleton’. In 3DS Max a 'biped’ can be created, which is then linked to the model using a ‘physique’ modifier. Although this takes a great deal of time to perfect, it allows seamless animation to take place.
In this example, a set of ‘footsteps’ were created to have the avatar move around the stage. It would have been relatively easy to create more complex animation, but the idea is to show the means by which a stage can be lit, and so a simple walk is all that was needed. Additionally, two props – a chair(16) and a bed(17). In adding these, the number of shadows and areas needing to be lit increased, turning the example into a more realistic scenario. Each light was created and placed individually with the positions all being physically possible in a real theatre. Their intensity and colours were altered, with a 3D render taking place with each change. In doing this, testing was effectively continuing throughout the process, and so ensured that no errors in the final WRL or AVI file were seen.
Finally, a set of camera locations needed to be added. These provide viewpoints within the VRML world, and through the use of ‘Helpers’ can be switched to by clicking on objects. For this example ‘pyramids’ at the front, and rear of the stage along with the chair, bed, and moving avatar were assigned as links. In total this gives 7 camera viewpoints while the user can also choose to move around the world as they wish.
Through the creation of the initially described deliverables we see that a VRML world can be created which allows users to interact within the world. Although no real ‘collaboration’ is possible, it does create a framework from which a number of extra features could be added. The ability to turn individual lights on and off, along with altering the colour would be a key feature in a working environment. This would allow those who wish to light a ‘real’ stage to gain a
large amount of usage from the world. Additionally, having actors to be able to interact through the use of avatars would result in a fully working virtual theatre.
Summary and Conclusions
To conclude, the creation of a Virtual World for Performance Art relies completely on its potential to be immersive. “A theatre performance and a VR experience both are time based, existing only during that time that the human participants are engaged with them. Both rely on the creation of a fictive universe designed to entertain, inform, and enlighten.”(14) If this universe is not believable, the audience loses their belief. If the actors within it are the
same, again the audience loses their belief.
For the future, the possibility of head mounted displays used by both viewers and actors in a Virtual Theatre is a distinct possibility, although “The basic requirement, a real-time stereo image, needs 2 × 120 Mbit/s without compressing”(12), which is a connection speed far faster than we have available over the internet today. Dealing with an environment which is in a single
location, however, has already been attempted(14).
In creating my Virtual World a number of techniques were employed, such as 3D Modelling, Lighting, and Animation. This process is time consuming but extremely fulfilling as with each changed vertex an improvement can be seen. Overall, although the avatar is not as realistic as it possibly could have been, the animation that goes with it is true to that of a ‘real’ walk, while the lighting and stage examples only add to the immersive nature of the world.
Known Issues
- Functionality to switch between lit and unlit environments was included but
crashed the Octaga player and so was removed.
References and Bibliography
1. Pimentel, Ken, and Kevin Texeira No . Virtual Reality: Through the New Looking-Glass. Intel/Windcrest McGraw Hill, 1993.
2. Wodaski, Ron. Virtual Reality Madness. SAMS publishing, 1993. [User manual for a computer game package]
3. http://www.blasttheory.co.uk/
4. http://www-ksl.stanford.edu/projects/cait/
5. http://www-ksl.stanford.edu/projects/cait/demos/status.html
6. http://www.humanities.uci.edu/mposter/syllabi/readings/ryan.html
7. http://www.lib.berkeley.edu/TeachingLib/Guides/Internet/WhatIs.html
8. http://www.sethf.com/gore/
9. http://www.eimc.brad.ac.uk/research/presence.html
10. http://vr.isdale.com/WhatIsVR.html
11. http://www.statistics.gov.uk/pdfdir/intc0505.pdf
12. A. Halme, J. Suomela and M. Savela. Applying telepresence and augmented reality to teleoperate field robots. Robotics and Autonomous Systems, Volume 26, Issues 2-3, 28 February 1999, Pages 117-125
13. http://computerphilologie.uni-muenchen.de/jg02/ravelhofer.html
14. http://www.fit.fraunhofer.de/projekte/camelot/index_en.xml?aspect=mixed-reality-stage
15. http://www.techiwarehouse.com/cms/articles.php?cat=36
16. http://www.3dcafe.com/models/chair.zip
17. http://www.3dcafe.com/models/bed29.zip
18. http://www.ciren.org/ciren/conferences/240300/index_E.html
19.
http://www.hiddenpixel.com/3DS Max Help Files and Tutorials were also used throughout the modelling process
