In collaboration with Riverbank Arts Centre and Kildare Youth Theatre, this project explored how social virtual reality can be used as a space for youth performance-making, creative experimentation and participatory storytelling. Working with a group of young theatre-makers, we designed and facilitated a series of workshops that used VRChat as a platform for devising and staging an immersive live performance.
Not I VR re-stages Samuel Beckett’s 1972 monologue for a lone, disembodied mouth inside an immersive, single-user virtual-reality installation. The project asks how Beckett’s radically subtractive dramaturgy – extreme darkness, torrent of words, singular, focused scenography – behaves within an additive, real-time engine driven by motion capture, spatial audio, and digital doubles.
Augmented Play (2019) is the third and final part of the three-year practice-based research trilogy produced under the banner of V-SENSE (lead by (PI) Aljosa Smolic) and directed by Nicholas Johnson. It has much in common with the earlier VR version because it uses the same volumetric video assets, and the mode of user interaction and narrative development is also similar. However, the viewing paradigm is different; they are displayed using the either the Microsoft HoloLens or the Magic Leap augmented reality (AR) head-mounted displays (HMD).
Virtual Play (2017) is the second part of the XR Play Trilogy, a practice-as-research investigation speaheaded by Dr. Neill O'Dwyer (producer and scenographer). It was produced under the remit of V-SENSE (lead by (PI) Aljosa Smolic) where O'Dwyer was director of creative experiments, and it was directed by Nicholas Johnson (Dept. of Drama, TCD).
An intermedial reinterpretation of Samuel Beckett's clasic modern drama, entitled Play (1963). The performance was screened live using a pan-tilt-zoom webcamera in combination with Wirecast and Youtube webcasting technologies. It was broadcast from the Dance Studio in the Samuel Beckett Centre, Dept. of Drama, Trinity College Dublin, and it was screened for a live audience at the Arts Technology Research Lab (ATRL).
Credits:
In these extended reality (XR) applications users are invited to enter the world of James Joyce’s Ulysses through the cutting-edge technology of augmented reality (AR) and virtual reality (VR). The VR application will allow audiences from any part of the globe to experience the sites and associated scenes from the story via a VR headset. On the other hand, the AR application will allow audiences to physically go to those locations and witness dramatic recreations of the scenes by using a mobile phone, tablet or head-mounted display.
