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Games and stories have grown legs and Facebook MafiaWars and Playstation console games have jumped into the physical world. Welcome to the most exciting and entertaining commute of your life.
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"Transmedia storytelling is exploding across the media community. One of our new Blogging Fellows [James Carter] explores some of the implications for arts organizations."
Some great lessons for all of us ... not just arts organizations.
I love this image!
An interesting article by James Carter is a dramatist, experience designer and producer about what is storytelling and its value:
"Transmedia is the art of sharing a narrative over multiple media platforms (print, online, stage, film, social networks), where unique content is delivered through each platform. For example, Fringe, the hit television show, used transmedia to expand its storyworld and reward its biggest fans. [...]"
Audiences have never been hungrier for experience, but these productions need a rigorous approach, says Miriam Gillinson
Great advice from a very pertinent perspective.
This a new age for enjoying performances. We invited the radio into our homes. We opened our door to televisions, to the internet and everything else that has come with it. But this is a reversal in the arts, where we the audience are being invited in. Theatre is no longer set in building- but like heart that defines the home, the audience will now define the performance.
How can a director produce an effective interactive theatre performance?
Why do many interactive performances fail to fulfill their purpose?
Kevin Holmes: "Felix Mortimer is a former member of Punchdrunk who has gone on to found RETZ with Simon Ryninks, and earlier this year the company performed an experimental version of Shakespeare’s The Tempest called O Brave New World, which took place over six months and across the physical and online worlds" ...
Scott Juster: "What happens when a production company stages an interactive theater experiment? It starts to resemble a video game."
Leslie Horn: 'Come with me. I've got something to show you. A dark-haired woman clad in a long beaded dress said this to me as she whisked me away into the strange underworld of "Sleep No More."'
Teressa Iezzi: "Through Punchdrunk, Barrett has sought to create experiences that challenge audiences to physically interact with a narrative, and that push the idea of entertainment into a more primal place, where a show becomes a thing that happens to you because of decisions you make, not just something you watch passively."
Kelsey Campbell-Dollaghan: "In theater, there’s a concept called the “fourth wall.” It refers to performances that involve the audience, breaking down the invisible “wall” between performer and spectator. A new project from Pentagram goes even further, breaking down the “fifth wall” between the performer and a digital audience."
Randy Finch: "As my students will tell you, I am keenly interested in the role "theme" will play in the New World of cross platform storytelling."
"Basetrack, a social media reporting project that accompanied a marine battalion on a deployment in Afghanistan, will be adapted into a series of theater performances [...] at Juilliard in New York."
For more on this interesting multiplatform project read Bringing the war in Afghanistan home, by iPhone.
When London’s Punchdrunk Theatre Company opened Sleep No More in March 2011 in an abandoned warehouse block in New York, few imagined it would still be running a year later...
Frank Rose: "People have always wanted to immerse themselves in stories, and digital media have given them any number of ways to do so, from Grand Theft Auto and L.A. Noire to alternate-reality games like Why So Serious?, which drew more than 10 million people into the saga of The Dark Knight before the movie opened. But the desire for immersion has spilled over into the purely analog world as well, as Sleep No More attests."
ZED: An apocalypse story told in 3 theatrical events over half a year, with online and offline activities that bridge the narrative in between.
[A look at a great project which is "making theatre interactive, and embracing transmedia storytelling."]
"The live production, written by Matt Pelfrey and directed by Dámaso Rodriguez, employs projected illustrations, intense fight choreography, and compelling characters to immerse the viewer in the action"...
Berlin’s Maxim Gorki Theater proved Facebook can be home to a live theater experience, in what it calls Facebook’s first performance.
Michael Gallant: "Visit the website meetverastark.com and you’ll learn about one of America’s greatest actresses, a woman referred to as a teacher, singer, lover, civil rights activist, and femme fatale. [...] The only catch? Vera Stark isn’t real."
Lynn Nottage, Pulitzer Prize-winning playwright, journeys into transmedia storytelling with the help of the Black Women Playwrights’ Group (BWPG) and Carnegie Mellon University’s Entertainment Technology Center (ETC) ...
Nice way to blur the lines between theater and short story, when both are "novelized" (Bakhtin) by digital media.
Yomi Ayeni: "I’m often asked what the interactive theatrical experience Clockwork Watch is, and the answer changes with each stage of the production. The underlying objective, though, is to create a fictional Victorian universe and tell a story where the narrative is delivered through live events, graphic novels, role-play, online news sites, and a feature film, all co-authored by the audience, through their interactions with our make-believe world over the next five years" ...
In this video interview, Flatland director Ralph Upton and producer Adrianne Roberts take Transmedia NZ's Anna Jackson on a journey through the new multidimensional and interactive theatre work.
Joe Berkowitz: "It took DreamWorks years of work and countless decisions to translate “How to Train Your Dragon” into a live experience. The result is an achievement not just in pyrotechnics, but in collaboration and brand extension" ...
Liz Shannon Miller: "Whether you spell it "theatre" or "theater," any fan of classic or contemporary theatrical works ought to check out the full-length productions available through VOD site Digital Theatre."
Chaunton: "This week, we are hopping back across the pond to visit an American production of what has proven to be one of the most enduring and successful immersive theater experiences of the new millennium, Sleep No More."
Serena Solomon: "A Lower East Side love story told through an iPhone app is at the center of a walking tour and performance art piece about to kick off next month" ...
Michael Humphrey: 'It may not be long before you hear a theater announcement, “The performance is about to begin. Please turn on all electronic devices.”'
"A small Philadelphia-based company called New Paradise Laboratories is re-creating theater for the connected generation. It’s incorporating social networks like Facebook, Skype and Chatroulette into the production and presentation of shows, pulling theater into the virtual space."
DRC: It's an immersive experience for both the cast and the audience.
An intriguing interactive theatre project from Goat and Monkey looks set to bring alternate reality gaming to the great gardens of Sussex...
[An ARG mystery which culminates in a series of interactive garden performances. And, as the article states "This modern notion of interactive theatre, which combines location, narrative and interaction with actors has been growing in popularity for the last five years."]
I’ve never seen a room of theatre folk this curious about a new innovation in theatre storytelling. Probably, because there hasn’t been a new innovation in theatre storytelling for decades....
Digital projections and computer animation make all kind of amazing effects possible – but do they rob theatre of what it's all about?
also love this one. I agree that all of these effects may be cool, but that is not what theatre is about. This article is a prime example of how musical theatre has changed in the modern day and age