The Screens, a review of Digital Theater by Jessica Peri Chalmers

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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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Documents

The Screens, a review of Digital Theater by Jessica Peri Chalmers