Evaluation of Internet Resources
Used in Teaching and Research
American Society for Theatre Research
Review of Tempest 2000 at UGA Website
Name of Site: Tempest 2000 at UGA
Date of review: February 16, 2002
Name of reviewer: Patrick M. Finelli, Ph.D.
URL: http://archive.drama.uga.edu/pages/proseason/archive/1999-2000/tempest/
Author: Dr. David Z. Saltz (Professor) at the University of Georgia
The Interactive Performance Laboratory at the University of Georgia is an innovative program that has encouraged experimentation using advanced technology in live performance. It features a unique interdisciplinary emphasis in acting, playwriting, scenography and computer animation. David Z. Saltz directed a production of Shakespeare’s The Tempest in April 2000 using a distinctive digital technique for the character of Ariel. This website documents Saltz’ directorial approach and the work of both traditional costume and scenic designers and non-traditional computer animators.
Saltz says, “Prospero's magic is a perfect metaphor for contemporary digital media. He creates illusions that everyone else in the play accepts as reality, in much the way that digital media is increasingly shaping and manipulating our perception of reality.”
What sets this production apart from others is that the graduate student animation experts at UGA digitally created a virtual “sprite” based upon the movements of a live actor using motion capture technology. The real actress appears trapped in a cage attached to motion sensors in full view of the audience. Ariel is played by the animated projection resulting from the transformation of her real-time actions by means of computer hardware and software. The actor’s movements actually determine the way the animation “performs” in the play. There are vivid descriptions of how the animation glows, shrinks, twirls, appears and disappears, varying with each performance.
As you might expect from an academic site, there is additional educational information about Shakespeare’s language compiled from the Folger edition of the plays, a note on verse by Frances Teague and an annotated bibliography. There are links to additional resources, but at least one sponsor's link did not work. This is a chronic problem on most websites that do not utilize a link-checking service to validate hyperlinks.
Another problem is on the Performance Lab page under a picture of a 1997 production of Hair where it says "Click the image to see a streaming QuickTime movie featuring portions of the production." When you click, nothing happens, but there are photographs from that production and others. Navigation is awkward on some pages, in order to get back to the Tempest 2000 page from the Performance Lab page you must click on a picture while on other pages there are navigation buttons at the top and bottom.
For those who wish to learn more about the technology, there are links to the websites for the Polhemus UltraTrak motion capture system and Kaydara Filmbox software used to to create the real-time interactions.
Saltz makes the point that “theatrical magic wasn’t unknown to the Bard.” I agree wholeheartedly. Although Ben Jonson wrote "Vision of Delight" and Inigo Jones designed many masques together with him, he wrote a scathing poem titled "The Omnipotent Design" which reflects his bitter quarrel with Jones. He chastises Jones for being a "mere carpenter." King James I was noted for spending his treasury on extravagant productions. There are letters from 1604 that reveal the Council in conflict with the King over expenditures for Court entertainments. The Tempest was performed at Court in 1611. We can speculate on the influence the Court Masque had on the writing of Shakespeare, particularly the scene in Act IV celebrating the wedding of Miranda and Ferdinand. Just as the scenic artistry of Inigo Jones in the Court Masque may have stimulated the imagination of Shakespeare, Tempest 2000 at UGA may inspire the current generation of theatre artists. My students are fascinated with making connections between this excellent example of contemporary production practice and the stage magic of Inigo Jones.
The website contains still photos of animation and images of the set and costume renderings. Below is a picture of MFA Actress Jennifer Snow rehearsing Ariel in the Interactive Performance Lab reproduced by permission of David Z. Saltz (Photograph by Al Partridge).
You will find more about the production itself in David Saltz's article in the September 2001 issue of Theatre Topics.
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