The International Collaboration in Theatre, Opera, or Movie -Industry is long time knew. The people involved have to work in those cases on the same production spot. In the Metavers however there is a interesting adventage: The Artists are in virtual space, wherever they are in RL. A totally new aspect for a collaborative production. The question is: Is it possible to build a International Theatre Project an perform in the metaverse structure?
The answere was : THE WALL
The WALL Production was a great challenge for the CARP Team. An unnumbered quantity of different Art forms were integrated in this Production. This Production has set in many dimensions new benchmarks. Also in LSL Scripting, Visual Effects, Production Organisation, Animation and Show Controlling. The WALL is also a Show of superlatives. The 5 shows in the Diabolus Art Space did run every time with full sim and the Benvolio Sim was just not big enough for this production. For this matter we replaced the WALL to a 4-sim Theatre in Havens Paradise with a capacity of 150 avatars.
Debbie Trilling Creative Director of the CARP-Produktion WALL:
Our motto from day 1 of the production was the question: “Mother should I trust the Gouvernment?”
Out of the song “Mother” where in the original version the individual psycholochical problem of a young man is told, the depression and isolation, ascribes our version the social and cultural environment: She asks for the influences of the environment on creativity and individuality. Another motto besides the above
written is:” A gouvernment that does not rule to much is a gouvernment that rules best”.
Both together gave the vision of our production. There are more (anti) political undertones as in the original version.
In the staging of THE WALL by Pink Floyd were many ironic pictures used, for all the giant puppets, the crossed hammers and of course the wall itsself.
These pictures we used also in our production.
It was very important NOT to make a copy, but to perform a individual and artistique vision and interpretation.
So we added many new elements. Also the soundttrack was new gathered, sometimes very subtile and hardly noticable, sometimes very obviously.
A real Pink Floyd fan will recognize much in our show but also see totally new subjects.
In general we were very concious about the spirit and essence of the original.
The CARP Wall Team: Creative Director: Debbie Trilling (UK) Producer: Velazquez Bonetto (Germany) Wall Design: Elfod Nemeth (UK) Animated Puppets: Duggy Bing (US)
Animations and Costumes: Caravaggio Bonetto (Austria) & Josina Burgess (Holland) Original Music: Junivers Stockholm (Sweden) & Josina Burgess (Holland)
Stills Photography: Adec Alexandria (UK) Dancing & Joyfulness: Klute Copploa (France), Southern Riptide (US) with valuable contributions from: Scio Kamanchi (US) Gypsy Paz (US) Lyddyn Tzara (US) Celeste Moonlight (US) DJ Jenns (UK) windyy Lane (US) George W Bush (US)
In the WALL Project we use a popular music content the Pink Floyd’s incredible album ‘The Wall’
The next great challenge was the RINGS who not only the visual effects was created from the CARP team. It takes the form of a rock opera with composed lyrics and music, building and scripting, costumes, shape changing, flight, dance and drama underpinned by new use of in world cinematic techniques. The Rings celebrates the miracle of the Metaverse, the dematerialized virtual time-space. It asks – is this where humanity can at last unite: to overcome the forces that push us towards global destruction and blames victims for the pain they feel. It reminds us that we can be guided towards optimistic action by great humanists and philosophers.
HOW THE RINGS STARTED
By Josina Burgess
First was the Global Wood by Caravaggio Bonetto. Josina write a poem for the Global Wood instalaltion and Juniverse Stockholm compose an incredible Song for it.
The story based on the philosophy of H.J Krysmanski and his Power of Structure Research. We got the idea to do something with that subject, maybe build a performance around that. Velazquez wanted to develop a new theatre and new technology and started building his Hypercube. I was thinking about storylines and how to visualize all that. Velazquez and me talked about our idea with Junivers, suggesting maybe he could think with us and make some music to it. The great thing was that Junivers also had thought about similar things and contacted Medora Chevalier, she also had ideas. We started to discuss meetings every Monday.
From there the four of us started to work, and really hard. Velazquez (as usual) was the motor and started building in such a fast way that in a few days the idea for the theatre already changed in a real SL theatre. The RINGS was the name we used for the show and Junivers and I started to work on songs.
I wrote some lyrics, Junivers composed the music and we were sending files from Sweden to Holland and vice versa. I sang and Juni sang, the voices together sounded really good, so we did some more. Junivers composed the most wonderful music and also Medora started writing lyrics. The RINGS was becoming SL reality and we decided to divide it in chapters with subjects about injustice, poverty, environment, greed, power, etc. Every day the RINGS was in our minds. Velazquez developed a total new technology in steering and scripting, built a controller to steer many things at the same time, moving prims and let them “live” and record them. Velazquez build big puppets and I stood beside him watching, learning and copying what he did so I could build a puppet too. Then he did let them move…it was fantastic!
Meanwhile other artists, scriptwriters, builders and dancers like Debbie Trilling, Sca Shilova, MillaMilla Noel, Blanche Argus, Efrantirise Morane stepped in to help us make this new show work and become special. The whole building and scripting of the theatre was totally Velazquez’s work, he was performing miracles. We discussed some interaction with the audience and I got the idea that it would be so cool when the seats with the audience in it would fly up and into the stage and be like “in” the whole experience. Velazquez made it happen and (of course) it worked. 360 degrees panoramas were used, emitters, a total city was built on the stage, trees grew and disappeared, objects moving all around, VJazz set grew on the stage, and we the “actors” worked on the storyline. I made several new costumes and we went searching for good animations and avatars to make the show even more interesting. The more the RINGS grew the more enthusiastic we became. Junivers (his RL background being in TV and media besides being a musician) wanted very much to use a camera system that could be steered and was able to shoot close-ups of different views so the audience sees the detail. He asked Yumi Murakami to step in and her cam system inspired how we take this forward.
Rehearsals started and continued for many months. I can see this Metaverse Protest Show as a huge step towards what it is possible to create in SL. More than that, we will be able to bring important messages to SL too.
THE RINGS MUSICAL JOURNEY
By junivers stockholm
I have been jamming and playing in SL since my very early days. It was always done with pure SL technology. Some instruments were playable for real and some were “loop instruments”. Often the jams were open for anybody to participate in, but there were also bands with rehearsals and giving concerts. (SL Art Ensemble and World peace jammers). Some of us also collaborated with individuals and other bands in SL. One of the bands was AOM (Avatar Orchestra Metaverse). The network grew over time and resulted in many things. One was that TheDove Rhode was given a piece of land at the Burning Life and there we had open jams. So… the network grew even more. One day Eden Toll introduced me to the CARP team. She asked me to join the VJAZZ sessions. So I began to stream. There was a big element of jamming in VJAZZ – Visual art met music in an improvisation.
Then Josina Burgess and Velazquez Bonetto asked me to join them for an event at the opening of Global Justice and we did a VJAZZ session there. Another interest I had was about non profit and help organisations in SL. I had made research about them. I found places, met people and tried to understand the problems they had in SL. Amongst my SL friends I had one working in RL for homeless people. We started to discuss a lot, also with others from these organisations, about what changes that were needed. We understood that empty regions were one of the big problems for them and they needed help in order to bring their information to an audience. During this time The Wall was produced and I had been asked to write an original song to the lyrics from Josina Burgess. The Wall was a big success and the music collaboration with Josina was fun, easy and gave a good result.
The CARP team is a very productive team and as soon as The Wall was running they wanted to start a new project. Josina and Velazquez asked me once again to write original music but this time for the whole show. I talked to my friend from the homeless organisation Geni Figaro. We discussed with Josina and Velazquez about ideas we had concerning non profit orgs in SL and they agreed to proceed in that direction.
For me personally the production of The Ring meant a lot. It’s based on my music in collaboration with Josina Burgess and Medora Chevalier. That is of course a great thing for me, but finding people that had so much to say about the state of the world we live in, and what is needed to do in order to make a better world, was even greater. I’m very happy for this.
My RL profession has been working with media, especially TV and live broadcasting. I had found a camera system in SL that I liked and it was made by Yumi Marakumi – the Bijo cam system. I introduced this system and the idea of using cameras in order to deliver cam views to the audience and recording videos of the show. The team liked the idea and Velazquez eventually found time to script his own system. I had ideas that Velazquez implemented in the system. He is a real wizard this guy!!! :)) I hope the Rings are the beginning for using a new platform in new ways, both when it comes to technology and content. I’m very happy to be in it!
I want to thank all my old friends in SL Art Ensemble and WorldPeaceJammers and of course all other friends. I want to say a special thank you to Bibi Book and Barney Boomslang for helping me with getting a stream.
HOW THE RINGS BEGAN
By Medora Chevalier
Juni and I started discussing the potential of SL more than a year ago. We were both convinced that there was something important in this new way for people to meet, make connections and learn from each other. It offers new ways for ideas and campaigns to become global. New ways to debate, discuss, agree and disagree and to act to bring change.
BUT there are so many empty sims. Places where information about issues vital to the future of our planet were too often empty. SL’s visitors were being drawn to clubs, shopping, music, fun. Concerts were held for good causes and raised money for them. But where did the audiences hear about the work, get encouraged to be
involved? We talked with people like Jacques from Humanbe. We began to look for ways to bring campaigning and music performance together – not to raise funds,
but to raise awareness.
Josi and Vela already thinking along the same lines. Their art work was special and pushing boundaries. We knew working as a group together we could aim higher and explicitly spark debate on social change. We visited Commonwealth, looking at the issues: homelessness; injustice; war; environmental destruction. We saw Jan’s beautiful panorama of the Arctic – the very spot where the hole in the ozone layer was discovered.
We were inspired Einstein’s view of a human being as is part the universe. My lyrics to Forest saw a world where we could find a way back to our connection with Nature. King of the World tells in a few minutes the whole story of a “fall”, echoing real life stories. It needed drama and homeless people who were real human beings, not caricatures. Everyone helped – Sca making subtle and moving animations, Blanche with her great theatre sense, Efran with his karate, Klute with her trolley and Debbie raging on the argue balls. Juni’s brainwave was to use cameras to heighten the drama. Hours of searching for hobo looks and rehearsing. To create the message that “the homeless” are people, the same as us: we are luckier, not better.
I’m a storyteller, a myth maker a shape shifter. Grendel’s is my playground. I just had to win people round to shape shifting in the show. I knew I’d got there well Vela shouted “Wow! When my butterfly flew out and Juni arrived as a dust demon. We all became adept shape shifters. It’s stimulating and rewarding to work with great people from different countries and backgrounds. Sometimes we argued a lot. Sometimes we laughed so much that we cried. Please join the weekly discussions and the Rings group. The solutions lie in our own hands. Be the change you want to see!
Debbie Trilling was invited to join ‘The Rings’ team as Advisor and Special Effects Artist. As Creative Director of the hugely successful ‘The Wall V-2’, Debbie brings a wealth of SL content creation experience to the performance.
Velazquez Bonetto, CARP co-founder and virtual reality artist said: “It is our responsibility as artists to call the public attention to questions where further thinking and searching for solutions is needed. The message of this artwork comes on several channels and addresses both the emotional and the rational side of the viewer. The Rings may have many different interpretations. There is nothing more boring than explanations at how it should be understood and nothing more exciting and thrilling than a simple and clear artistic language that can talk in a second of visual delight about human questions of huge magnitude.”
Junivers Stockholm, composer and director, said: “For a long time I have believed in the potential of the Metaverse to connect people in new and powerful ways: to take humanity to a future of cooperation instead of competition. Music has the power to draw people in to work on the answers to the major questions of our time.”
Josina Burgess, CARP co-founder, lyricist and vocalist said: “We should never underestimate the power of song to wake people up and to mobilise people to change the world. From the beginning of time it has brought people together in unity and strength.”
Medora Chevalier, lyricist and performer, is a campaigner against homelessness. She added: “Many of the evils of our world can be tackled if we open up our sense of connection to other people and to nature in its beauty. Then we can stop the exploitation of people and living things that so threatens our world and future generations”
Lyrics: Josina Burgess (NL), Medora Chevalier (UK), junivers stockholm (S)
Music: junivers stockholm (S), Josina Burgess (NL)
Vocals: Josina Burgess (NL), Medora Chevalier (UK), junivers stockholm (S), Jonny Cardiff (UK)
Creative director/producer/builder/scripting/camera scripting: Velazquez Bonetto (D)
Costumes: Josina Burgess (NL)
Special effects artists: Debbie Trilling (UK), Elfod Nemeth (UK), junivers stockholm (S)
Scenario design and graphics: Velazquez Bonetto (D), Caravaggio Bonetto (A)
Camera direction: junivers stockholm (S)
Concept KoTW: Medora Chevalier (UK) & Director junivers Stockholm (S)
Narration, Script Editor, Choreography: Medora Chevalier (UK)
Panorama Photography: Jan van der Woning (NL)
Animations: Sca Shilova (NL)
Actors and dancers: Blanche Argus (S), Josina Burgess (NL), Medora Chevalier (UK), Klute Coppola(F), Efrantirise Morane (I), MillaMilla Noel (I), Sca Shilova (NL), junivers stockholm (S).
The Carp team would also like to acknowledge the help of:- Larry Pixel: NMC Jazzoru Otoole: Sax Yumi Murakami: Inspiration for Cams Bibi Book: Cams Scripting help Orhalla Zander: Cardboard houses Arcadia Asylum: Hobo items Flea Bussy and Grendel’s for inspiring avatars
Thank you to all the many people, too numerous to mention, who have given us advice, support and help in developing The Rings.