PERFORMING ENVIRONMENTS
In Brazil the odiseo.com performance usually take place in the apartment where the character Elisa lives, in Florianopolis. In Buenos Aires, a hyper-realistic scenario was built to simulate a hotel room at the Centro Latinoamericano de Creación e Investigación Teatral (Latin American Center for Theatrical Creation and Analysis), CELCIT. In Germany, the performance can take place in an alternative space of a theatre, art centre or performance centre or in a public space such as a coffee shop or a class room (venues which already have at least one table and chairs).
The staging and script allow for any of the performances, in Brazil, Germany or Argentina, to be put on in optional environments, other than those suggested above. The performance adapts itself because the center is the characters and their relationship through Internet. The performance of the actress Milena Moraes, can be staged in private residences, hotel rooms or in a large dressing room; actor Juan Lepore can perform in real hotel rooms; and the actress Amalia Kassai, can act not only in small alternative spaces, but also in public places which have the proper technical needs.
The adaptability of the spaces is aimed to generate new language experience as well as offer different types of experiences to the audience. This enables the programming of each part of the project depending the condition of the event and local production. However this space flexibility is integrated to the script.
These scenarios depict the logic of an environmental theater, to include both a space for the scene and for the audience, so that the audience can have the feeling of total immersion into the characters’ environment.
The aim is to engage the audience and seek improved interaction that will provide an intimate experience with the performance of the actors. As observers, people in the audience can witness up close and personal conversations between the characters, and they are welcomed to the risky environment created by the cast. A 42-inch screen shows the interaction between the actor on stage with the other ‘remote’ actors, as the images from the tablet of the ‘presential actor’ are mirrored on the big screen. This way, the audience can take part, although virtually, in the intimate experience of the characters.
In each country, viewers can access the ‘presential’ character’s life in real time for one hour. As for the remote characters, the audience will only see what the actors show them by instantaneous editing of the scenes throughout the play.
