2. SL Shakesp e ar e Co mp a n y
Virtual worlds: Multiuser “worlds” that exist in computer-simulated “virtual reality”
Often contains analogues of the real world, such as currency and similar spatial relations
Current Mainstream Implementations: User interacts in world represented by his/her avatar
Different virtual worlds have different features, but communication medium present in all.
Popular v.w.’s: ActiveWorlds, World of Kaneva, World of Warcraft, The Sims Online, Second Life
Virtual Theatre: theatrical performances in virtual worlds
Manifestation: Actors control avatars to tell a story, as witnessed by an audience of avatars
No longer location dependent, globally accessible anywhere with an Internet connection
More easily create immersive settings for theatrical presentations, can customize rules of reality.
Puppetry Analogy
Actor as represented by an avatar puppet
Keystrokes in lieu of strings to control the avatar
(Tangled strings manifest as virtual world server/software congestion!)
3. SL Shakesp e ar e Co mp a n y
Second Life (SL) is an immersive Stats (as of late 2008)
• Over 15 million registered users
open-ended virtual world imagined • ~50,000 online simultaneously
• US$10 million exchanged
by and created by its users. monthly on LindeX
Extensive inworld commerce system
Global, communal, effective social networking platform.
Users register for a unique avatar name, purchase land or
islands to establish venues with a unique address (SLurl)
Second Life as the “metaverse”
4. SL Shakesp e ar e Co mp a n y
Actor: represented by avatar in Second Life (Avatar: “virtual body” of participant)
Dependent on connective interface (e.g., keyboard, gamepad, OCZ nia, custom software)
Basic Implementations of Theatre
Avatar moves/activates things directly via arrow keys and mouse-clicks, minimal scripted support.
Combination of movement with animations create new choreography
Speech via text chat, media stream, or SL Voice
Technology-guided Implementations of Theatre
Artificial intelligence used to present a sequence of scripted behavior.
Speech via text chat, media stream, or SL Voice (Virtual Ventriloquism)
Hybrid
Voice acting by real humans, mixed with avatars guided by (programmatic) scripts.
5. SL Shakesp e ar e Co mp a n y
Not a teleplay: Not merely about actors being separated by long distances, but
actually, a play that exists in virtual reality—particularly, the metaverse, a
virtual world with analogues to the real world, such as its own currency and
economy, its own culture and intelligentsia, etc.
Not a broadcast medium, per se: Limitations in number of avatars in a single
local venue similar to a RL theatre, not easy to record a high quality film of an
event. When broadcast, in the traditional sense, as a raster video, the
performance loses its scope.
Not just animation: The animation medium is premeditated, requiring that
each frame of the spiel be planned for or created in advance. When you have an
avatar on a virtual stage, it’s definitely a live medium, where anything can
happen once showtime starts!
6. SL Shakesp e ar e Co mp a n y
Second Life is new; the platform is experimental.
Possibilities
SL, as is, can facilitate high customization in avatar and
set design, recognizably emulate RL productions
Innovative Possibilities
Transparent Interface: Natural movements via customized
browser for real-time motion capture streaming animation.
Holographic projections
7. SL Shakesp e ar e Co mp a n y
The SL Shakespeare Company (SLSC) is
a professional theatre company based in SL.
curator of the most historically accurate theatres and
architecture relating to William Shakespeare in virtual worlds.
The SLSC is an independent organization.
Fiscal Sponsor: sLiterary, Inc. (NPO, arts in virtual worlds)
Not affiliated with Linden Lab (Second Life)
Not affiliated with any one institution, though many have
participated, and all are welcome to participate.
Origins
Founded in 2007 by Ina Centaur
Composed entirely of virtual staff recruited from the user
communities of Second Life, and the Internet.
8. SL Shakesp e ar e Co mp a n y
Performance Environment
SL Globe Theatre
To-Scale replica of Shakespeare’s second Globe Theatre
Set in the midst of an an arts mecca in virtual worlds.
Blackfriars Theatre
World’s only complete replica of Shakespeare’s indoor theatre.
Perfect for Elizabethan-style black box theatre.
Networking, Publicity, and Outreach
Utilizes the talented network of artists and creators, who are
the merchants of SL
Thrives in the “artistic meritocracy” of SL
Grassroots-based publicity, with focus on inworld
communities.
SL reaches to all econ-sectors, around the world. Many saw
their first Shakespearean play on SL.
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11. SL Shakesp e ar e Co mp a n y
Main: A single full-length Shakespearean play/year
Several smaller productions other than the main play
RSC Methods of scansion/analysis with rigorous rehearsals
Open auditions, recruit from SL.
Most actors have never met in RL.
Performed scenes from Hamlet in our pilot year 2007
Elizabethan-era production
Created avatars based on photos submitted by actors
Shown in B&W are imagery of avatars created based on actors
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16. SL Shakesp e ar e Co mp a n y
Twelfth Night is our main Shakespearean production for ’09
Early work started in Summer of 2008, as a full-costumed
tag-team staged reading series of the entire play.
Act 1 (full ensemble) is currently an open-ended run.
Acts 2, 3, 4 & 5 will open in June, September, and November
Set in the “Generic Past,” archetypal character designs
The Domain of Our Theatre is an Evolving Virtual World
Second Life is constantly evolving and changing based on what
its users do. The world itself is a very live medium.
Live Demo: Scene from Twelfth Night: Act 1, Scene 2