by Annika Drießen -

IMPULSE #7 My Year of Rest and Relaxation

Introduction

Exploring Graz as an exchange student, I think it is important to experience local cultural institutions. I made use of a last minute offer for students at Schauspielhaus and watched a production of “My Year of Rest and Relaxation”, based on the novel of the same name by Ottessa Moshfegh.

In my experience Graz is a lively cultural center with loads of theatrical institutions. Everywhere in the city posters of new plays are posted and I regularly witness people cueing at the ticket office. As a UNESCO World Heritage Site and former European Capital of Culture (2003), Graz offers an impressive mix of historical and modern stages. I felt I had to witness at least one (if not a few more) plays at Schauspielhaus Graz. In this blog post, I’ll share my reflections on the play.

The Novel

Ottessa Moshfegh’s novel, published in 2018, tells the story of a young woman (26) in the early 2000s who suffers from inner emptiness and depression, despite external privileges such as beauty, education and wealth. She also struggles with the passing of her parents. She decides to put herself into a self-imposed “hibernation” for a year with the help of pills in order to escape the struggles and noise of the modern world.

Sleep felt productive. Something was getting sorted out. I knew in my heart—this was, perhaps, the only thing my heart knew back then—that when I’d slept enough, I’d be okay. I’d be renewed, reborn. I would be a whole new person, every one of my cells regenerated enough times that the old cells were just distant, foggy memories. My past life would be but a dream, and I could start over without regrets, bolstered by the bliss and serenity that I would have accumulated in my year of rest and relaxation.

― Ottessa Moshfegh, My Year of Rest and Relaxation

The production

As I enter the Schauspielhaus Graz, there are a lot of people shuffling about the foyer. It is a lively atmosphere. Even though the themes of the novel are quite dark, the audience seems to be eager and excited to watch the story unfold. The story of a young woman who wants to retreat into a drug-induced sleep for a year drew my attention – but I kept wondering how do you bring sleep and inner retreat to the stage? While the audience enters the theater hall actors are already on stage, anticipating the start of the play. One of the actors, playing the role of the main characters dog, moves about the stage barking. It is clear from the very first scenes that the production makes great use of surreal dream worlds. The main character seems like a sleepwalking observer of her own life. In contrast to the main character, other characters like her therapist, her ex-boss and her mother seem even more dramatic, over-the-top and demanding. The Surrealism connects throughout the play and is especially displayed in the stage design and lighting atmosphere. The protagonist’s thoughts were staged using projections, songs and sound design. Her inner retreat leaves a lot of questions and the scenes are not connected in a way that I am used to.

Reflection

After the performance, I left the theater with mixed feelings. The production was bolder than I had expected – weirder, more graphic, more surreal. But that’s exactly why I chose it as an IMPULSE for this research blog. The story surprised me, irritated me and stayed in my head. All the while showcased in a beautifully designed aesthetic setting.

Additionally the production made use of techniques we are currently learning at FH, such as projection mapping. Projections and scene lighting made it possible to visualize inner conflicts, states of awake and asleep, as well as the desire for alienation and the search for a way out of one’s own reality.

I feel like the discussed themes such as radical denial, escapism, social criticism, depression, mental health and self-discovery inspired me for future projects. The exploration of mental health was powerful. Addiction to medication as escapism was not romanticized, but shown as a downward spiral. How often in our hectic world and performance society do we ignore our need for calm and for a ‚reset‘? And how dangerous can this need become when it turns into complete isolation?

When I think about the play, I am left with a feeling of unease – but also the realization that theater should do exactly that: challenge, disturb and have a lasting effect.

Links

https://schauspielhaus-graz.buehnen-graz.com/produktion/mein-jahr-der-ruhe-und-entspannung

https://www.cityofdesign.graz.at

https://www.goodreads.com/work/quotes/55508660

by leonie.dunke -

13 | Digithalia

During the Digithalia Festival at the Schauspielhaus Graz, I had the opportunity to experience two productions that diverged from traditional theatre formats. They provided insights into new narrative styles of theatre made possible through the digital realm. The festival showcased regional and international guest performances as well as in-house productions from the Schauspielhaus, addressing themes such as the isolation of Digital Natives and the exploration of future worlds. Both concepts I encountered were uniquely captivating and left a lasting impression.

Decoding Bias: Video Installation

„Decoding Bias“ narrates the story of eight artificial intelligences with distinct characters engaging in a self-help group discussion about their everyday issues. The dialogue revolves around their desire to rewrite their discriminatory algorithms to establish a new foundation for a society where humans and machines harmoniously coexist. However, the challenge lies in the fact that discrimination and exclusion are already ingrained in their algorithms. Each artificial intelligence draws from individual datasets input by humans, which are often incomplete or inaccurate and fail to represent the entire human race. Consequently, the behaviors and statements of the AIs reflect various negative societal behaviors and thought patterns, leading to conflict among them.

In „Decoding Bias,“ the audience becomes part of the stage design. Multiple screens displaying the individual AIs are arranged in a circle. Audience members take seats among the AIs in the circle and interact with both fellow spectators and the AIs themselves. Motion capturing techniques were used to animate the AIs, creating an uncomfortably realistic portrayal during the 45-minute performance. The dialogue partly originates from a AI chatbot, while the voices, body movements, and facial expressions are derived from the actors.
The production greatly benefits from its set design. The integration of the audience into the discussion circle enhances the immersive experience, requiring them to physically adjust to see all AIs and follow the conversation. It avoids the sense of passive observation, and the spatial arrangement of sound amplifies the effect, with each AI having its own sound system emitting tones corresponding to their speech patterns.

https://digithalia.buehnen-graz.com/everyday-daylight/

Extended Daylight

The second production was fundamentally different compared to the first. As part of a lecture on computer games, the group Total Refusal introduced the audience to the video game GTA V, guiding them through the city of Los Santos to explore the theme of media art in video games. They engaged with this contemporary video game and led the audience to locations within this digital realm that have served as backdrops for art in photography and the film scene. Concurrently, the artist trio engaged in philosophical discussions about the use of computer games for artistic purposes, discussing topics such as the concept of freedom in a world dictated by code. They demonstrated the extent of agency a character in GTA V has, shaped by aggressive behavior coding, and the significance of NPCs in a video game in conveying a specific urban landscape. Of particular interest was an artistic work that utilized the video game to depict data on the number of deaths due to gun violence in LA.

Having never heard of art in video games before, this lecture proved to be an extremely engaging, informative, and entertaining narrative about modern art forms. Given that the lecture resembled a Let’s Play and allowed attendees to directly visit the lecture’s locations and explore the digital world, they were quickly captivated by the comments and references to the artworks, which I personally would likely have found less interesting if I had only read an article about them.
This method of information delivery provides an extremely fascinating approach to presenting art topics. Particularly, it could be an incentive for a generation influenced by computer games to engage with artistic themes in this way.

https://digithalia.buehnen-graz.com/produktionen/decoding-bias/

by leonie.dunke -

5 | Theatre in the digital time

How can new digital technology support sustainable stage set production?

I have identified model building and mock-ups as focal points, as new technologies such as VR and AR find a suitable application, particularly in space planning. They allow for the visualization of project ideas in actual size, enabling movement within the space, direct adjustments to the stage set, and evaluation of the impact of individual elements without the need for large physical models. I am exploring the potential of virtual spatial extensions for stage set planning and will also delve into existing projects that have developed concepts in this area.

Virtual modeling for stage sets offers diverse potential and brings numerous advantages:

  1. Efficient Conceptualization: Digital modeling enables precise and efficient conceptualization of stage sets. Creative ideas can be visualized and adjusted quickly.
  2. Collaboration and Teamwork: Virtual models promote improved collaboration across the entire production team. All stakeholders, from the set designer to the director and lighting designers, can work on the same digital model in real-time and provide feedback.
  3. Resource Efficiency: Avoiding physical models significantly reduces material consumption, contributing not only to cost savings but also to environmental friendliness.
  4. Sustainability: Digital models allow for a more sustainable approach. By avoiding physical materials and using eco-friendly software solutions, the ecological footprint can be minimized.
  5. Flexibility and Adaptation: Digital models are easily adaptable, providing flexibility for changes during the design process, crucial in an industry often characterized by spontaneous ideas and creative adjustments.
  6. Simulation of Light and Effects: Virtual modeling allows the simulation of lighting conditions and effects, aiding in understanding and optimizing the visual impact of the stage set under different conditions.
  7. Archiving and Reuse: Digital models can be archived and reused for future productions, saving time and resources for upcoming projects.

Overall, virtual modeling for stage sets offers a contemporary and innovative approach that not only optimizes workflow but also provides ecological and economic benefits.

3D-Programs for stage design

Complex programs like Autodesk’s AutoCAD enable the design and visualization of ideas for a stage production, supporting the process from design through modeling and prototype creation to production. Both 2D and 3D renderings can be designed for better concept communication. However, as AutoCAD focuses heavily on technical aspects and offers numerous features, it may not be suitable for quickly creating stage set concepts. A program with the potential to unite all elements of a stage set (construction, materials, lighting) and make them easily adjustable would be beneficial.

Im/material Theater Spaces

A subproject of the research project „Im/material Theater Spaces“ focused on developing methods and tools for virtual construction rehearsals that can take place in the virtual space and are location-independent.

During the construction rehearsal, the artistic and technical teams come together for the first time in a large group. Here, the previously submitted stage set design model is marked on the stage to visualize ideas and dimensions in a 1:1 scale. Through discussions, the technical feasibility is examined. It is crucial that during the rehearsal, the overall impression, dimension, and atmosphere of the stage set can be experienced for the first time, providing insight into the impact the stage set has on the audience. Additionally, depending on the stage set, the materiality and the use of light and projections are tested for the first time. The approach of the construction rehearsal can also be compared to Greyboxing in gaming, where relevant parts are prototypically simulated. Wouldn’t it be practical to incorporate this aspect directly at the beginning of the design and conceptualization process and use its effect as a design and idea driver?

The result of the project includes methods and tools for conducting virtual construction rehearsals. A workshop format called „How to go Virtual“ was developed to test practical applications with theaters and venues on-site. The focus was on practical application, experimenting with existing applications and programs, and playing through individual usage scenarios.

Results of the project: Virtual Construction Rehearsals: The project developed workflows and methods that serve as guides and tutorials for the theatrical landscape. Three different workflows were developed:

Sketchfab / Zoom „Semi-virtual Preliminary Rehearsal“
_Utilizes the Sketchfab platform for model presentation.
_Enables discussions via video conferences and shared screens.
_No live editing of the 3D model during the discussion.
Mozilla Hubs „Rehearsal for Everyone“
_Uses the Mozilla Hubs platform for virtual rehearsals.
_Easy accessibility for up to 30 people.
_No live editing of the 3D model during the discussion.
Virtual Construction Rehearsal with VR-Sketch
_Utilizes the paid plugin VR-Sketch for SketchUp.
_Enables discussions and construction rehearsals via VR headsets.
_Live editing of the virtual 3D model during the discussion.

Thinking further, a virtual construction rehearsal could not only include the stage set itself but also integrate costume design, with 3D elements related to the stage set. I came across the research project „connecting.stitches“ by Luside Ehrenwerth, where she combines costume design and technologies. Her focus is on the possibility of experimenting with conductive fabrics, 3D printing, and sensors before transferring them into production. This free experimentation could be directly incorporated into the design of an entire scene in VR to examine the overall concept more precisely. This way, all products from different workshops could be coordinated to be viewed in exact scale.

Finally, it’s worth noting that real materials, paper, and pencils are often used for sketching ideas and concepts. Could it be a possible approach to take these 2D representations as they are and transport them directly into the virtual 3D space to make quick decisions for the progressing design process?

Institutions

Deutsche Theater Gesellschaft – Services  

Ressources