Transcript Virtual Vaudeville

VIRTUAL
VAUDEVILLE
David Z. Saltz
Principal Investigator
University of Georgia
Coalition for Networked
Information Task Force Meeting
NSF 0121764
2002-2004
April 16, 2004
The Problem:
How to represent historical performances?
For teaching
For documentation of research
For hypothesis testing
Our Solution:
Live Performance Simulation System
Model theatrical spaces
Animate performances
Interact with community of spectators
Prototype Application: Virtual Vaudeville
Performance in New York City, 1895
Generalizable System
Applicable to almost any performance event
Configurable software engine
Develop re-useable strategies
Interdisciplinary Collaboration
Computer Animation and Motion Capture (UGA)
Programming and Interface (Georgia Tech)
Agent-based Engine for Spectator Interactions
(Naval Postgraduate School)
Historians
Cultural history (U. Pittsburgh), Vaudeville acts (Charleston
College, UGA), Musical history (Metropolitan College),
Architecture/Design (Appalachian College)
Theatre production (UGA)
Playwriting (Studio Z), directing, chorography, costumes,
sets, lighting, acting, musical director, musicians
Why 19th Century Vaudeville?
Enormous force in popular culture; the
television of late 19th and early 20th century
America.
Window into 19th century American society.
Abundant but under-researched archival
material.
Consisted of many short, self-contained
segments.
Time and Venue:
B.F. Keith’s
Union Square
Theatre, New
York City, 1895
Theatre Details
Acts:
Sandow the
Magnificent,
strongman
Frank Bush,
ethnic comic
Researching Acts
To create the models and reconstruct
scripts for the acts, our historians have
searched archives around the country for
programs, newspaper descriptions,
photographs, old films and early wax
cylinder recordings of the performers.
Modelling Historical Performers
Frank
Bush as
Jewish
character
The 3D model of Sandow is based on
measurements taken of Sandow in 1894 by Dr.
Dudley Allen Sargent of Harvard University.
Frank
Bush as
Irish
character
Motion and Facial Capture
David Spearman, one of three motion
capture performers for Sandow.
George Contini recording audio and
facial movements for Frank Bush.
Animating the Acts
Animating the Acts
Placing Acts in the Theatre
800 spectators in
real-time
environment
Audience
demographics
Gender
Class
Ethnicity
Animating the Audience
32 Spectator Groups
Groups react differently
3-5 different faces and
costumes per group
Additional variations in
hats and facial hair
Conceptual Challenges
Presenting speculations as reality
Imperative to “fill in” all details both the strength
and weakness of simulation as method.
Reinforcing positivist assumptions
Reducing history to objectively accessible artifacts
Disneyification
Presenting idealized view of past (simulacra vs.
simulation)
Perpetuating Historical Stereotypes and
Prejudices
Controversy about including blackface
Multiple-Mode Approach
Balance immersion & critical perspective.
At any time viewer can switch between:
Invisible Camera Mode
Hypermedia Notes
Avatar Mode
Invisible Camera Mode
Users "read" the simulated performance
Freeze action, rewind, fast-forward
User-driven camera
Jump to landmarks (spatial bookmarks)
Click on a spectator to jump into any seat
Pre-animated cameras
Close, medium and far cameras following
performers
Performer perspective
Spectator “inner monologues”
More powerful than being in a real theatre…
… but risks reinforcing positivism
Avatar Mode
Pre-defined avatar groups
Mother/Daughter,
“Sport”/Showgirl, etc.
User controls avatar’s
behavior
Applaud, laugh, frown,
“heckle,” “ask,” etc.
Surrounding spectators are
autonomous agents
Hypermedia Notes
Context-sensitive
Annotations
Attached to objects
Attached to time-line
Introductory essays
Critical analyses
Archival evidence
Photographs
Scripts
Programs, reviews
Recordings, film
Multiple Platforms
Problem: Performance
Need to navigate highly detailed environment
with hundreds of animated models in real time.
But need to be widely accessible
Solution: Two Versions
Gamebryo
High performance game engine
Requires high-end gaming PC
Shockwave/Quicktime Version
Cross Platform
Minimal system requirements
Thinking Ahead
Problem: Obsolescence & Sustainability
Solution: All content is external to Game
Engine
Models, animations, hypermedia notes all in
standard formats stored as external files.
Spectator interaction engine is an object that
functions independently of game engine and
animations (“black box” that sends and receives
simple text messages)
Textures for models are created in multiple
resolutions; the system uses the highest resolution
the hardware allows.
Adaptability
Problem
Goal is to develop a Live
Performance Simulation
System, not a one-off
simulation of Vaudeville.
Solution: Modular design
Game Engine Licensed for “Live Performance
Simulation System,” not Virtual Vaudeville per se.
No programming required to change models or
define spectator interactions.
Hypermedia engine is standard html browser.
Conclusion
Technical significance
Scholarly significance
Pedagogical significance
Artistic significance