Happening Rehearsal Interactive Performance(2016)


  • 影音、互動聲音設計、互動程式、MYO 手勢感測器、腦波儀裝置、互動 音樂台裝置、3D 列印、人臉辨識技術、現場樂器演奏、投影機、音響、布幕、 電腦燈、Kinect紅外線感應器。
  • 18:00
  • 2016


  • 主辦單位:臺北市政府文化局、財團法人數位藝術基金會 共同主辦-廣藝基金會
  • 承辦單位: 台北數位藝術中心
  • 節目名稱:2016第七屆數位藝術表演獎 決選實地演出
  • 演出時間:2016年6月26日(日)
  • 演出地點:水源劇場 (台北市羅斯福路四段92號10樓)

The use of the word ‘Ou (a homonym which can mean both puppet or happening)’ in the title gives it a double meaning, and indicates a bold experimentation which weaves together the ‘form’ of performance with the ‘concept’ of artwork. In regards to form, a ‘happening’ narrative mode is presented. An ‘interactive digital interface’ is used to attempt to create an open experimental playscript where a different improv performance is given for each audience that participates. In addition, an imitation of the ‘rehearsal’ process composed of actors on the stage playing the parts of ‘street performers’ along with members of the production crew deliberately shown on stage while in the midst of operating computers, cameras, projectors, sensors, machinery, and ladders can be seen played out on stage. The saxophone music which plays at both the start and the end of the performance serves as an allegory of an endless street performance. Conceptually serving to present the likening of ‘street performers’ to ‘puppets’, controlled and entrapped within a virtual reality. The use of the Internet and technology such as MYO muscle sensors, brain wave transmitters, and mobile phones allows for the long-distance communication of information and emotion, provides a space without the constraints of time and distance. Yet, the ‘puppet-like’ body controlled by technology remains unable to leave the confines of its cage (the area on top of the white box). The daily act of putting on and wearing a mask with ‘666 (the mark of the beast)’ printed on it while wearing alluring high-tech equipment serves to reflect the conflicting process described in Genesis where Satan tempts Eve into eating fruit from ‘the tree of knowledge of good and evil’. This work reflects on the idea of whether the arrival of humans at the pinnacle of technology will also result in their entrapment within an inescapable nightmare controlled by Satan.

This performance places a special emphasis on the concept of ‘happening’ and ‘rehearsal’ as forms of narration, and is presented in three parts: (1) 15 minutes before the performance begins, as the audience is entering, they see a saxophone being played along with three statue-like ‘street performers’ standing on white boxes wearing silver masks with 666 printed on them. The saxophone player will engage in impromptu interactions with the audience, piquing their curiosity and leading them to interact with the sound interface on the stage (much like the act of placing coins into traditional coin operated machines), causing the three street performers to interact with the resulting sounds using improvised body movements. (2) A man in a black mask walks in front of the audience to film them, while the video plays on a screen above the stage in real-time. The audience will be surprised to find images of themselves appear on the screen wearing the same ‘masks ’ image as the three street performers on the stage, thus by chance, themselves becoming one of the actors of the ‘puppets’. This is achieved using ‘real time face detection and recognition’ computer software that can immediately overlay the image of a ‘mask’ onto the faces of the audience. (3) As the performance draws to a close and the music (sung by an enticing demonic sounding female soprano voice) approaches its climax, three ‘pre-arranged audience members’ are drawn towards the stage by the seductive movements of the three performers. The lighting above the audience glows slightly, and an image of a ‘demonic hand’ and the three audience members now wearing ‘masks’ is played on the screen, indicating that these three audience members have been chosen and are powerless to resist walking toward the stage. (4) After an intense exchange of interactive movements, the three audience members walk onto the stage and replace the three street performers standing on white boxes. The lights dim momentarily and then brighten again, and the blaring of music being played on the saxophone returns along with it, as if announcing the beginning of yet another rehearsal. This endless cycle reflects the irony and futility of our day after day existences, forever unable to escape from the control of the same technology we once sought to harness.


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