Do you know a place where thyme grows wild? You do it now.
The “dream,” an interactive experience from the Royal Shakespeare Company, stretches through Saturday and lasts like a nap, taking thousands of viewers to a sylvan forest, then to a rehearsal space. in Portsmouth, UK, for the Q&A live view. Tickets are free, although those who prefer a light interactive experience can buy the seats for £ 10 (about $ 14) and appear on screens in the form of fireflies.
Inspired by Shakespeare’s “Summer Night Dream” – in the most beautiful, hardest-to-hear way – the “Dream” denotes a leap in theater technology and a short run. spot for the theater itself.
Another “Dream” is scheduled to open in Stratford-upon-Avon about a year ago, as a showcase for the Audience of the Future, a conglomerate of collective technology innovators and organizations. merged in 2019 and tasked with discovering new ways to produce and supply theater remotely. (Cinema on your phone? They saw it first.) 2020 “Dream” will be broadcast to both live and remote audiences, integrating actors, projects, and motion recordings. directly into a verdant whole.
But these days the live audience is rare and this faraway “Dream”, no matter how splendid – and it’s so splendid, so splendid – feels thinner, no more forest of imagination. and lots of small scenes of some really lovely trees. It begins with Puck (EM Williams), who wanders happily at night, imagined here as a collection of pebbles shaped almost like a human body. Why make Puck – nimble, fleet of vehicles, and beaming on earth when most of us load the dishwasher – like a pile of rocks? Do not know. Looks cool.
During his travels around the forest, Puck encounters other Shakespeare nymphs, such as Moth (the legend of moths), Peaseblossom (sticks and flowers) and Cobweb (the eyeball inside the squirrel). Apparently, Puck also met a Mustardseed (more sticks?). I remember it. And singer Nick Cave has contributed to the voice! I also miss that.
The “Dream,” to be performed live, is very delicate, altered and has almost absolutely no content. It’s not a theater, and it’s not exactly a movie, though it might pass a short “Avatar”. As for the stretches, it feels like a meditation video game, but neither is it, mainly because the interactive elements (clicking and dragging fireflies around the landscape) are completely unimportant.
Watching it, I felt inexplicable irritable, like a toddler being offered a wonderful variety of perfectly perfect snacks but didn’t want any of them. Because maybe what the kid really wants is to watch a real play safely in a real theater with a real audience. And that’s not available right now.
So I really don’t know what to say about “Dream”. Because it demonstrates an apparently effective and seemingly happy collaboration among the top actors in their game, the director, the designer, the composer, and the technician, many of them. took some physical risks to do it. (Among them are Robin McNicholas, supposedly directing and developing the story; Pippa Hill, said to create the script and develop the story; and Esa-Pekka Salonen, music director and co-writer of It also signals real progress in the use of direct motion rotation (something the Royal Shakespeare Company has been testing) and provides a glimpse into how that technology could be used. Use when the live theater is restored.
But this is not the right theater. Or not even the right theater. It is a sophisticated demonstration of an emerging technology. Shakespeare is the excuse, not the problem. Pentameter, put in random virtual mouths, gives us a better evaluation of the software architecture – which is great if you like the software and less great if you like the language itself, the plot, or the kernel. objects of the original game or our deep understanding of foolishness, the hearts of longing. This “dream” is beautiful. Wouldn’t it be great if we could all wake up right now?
Through March 20; dream.online