When the epidemic closed British exhibitions in March 2020, Coffee launched plans to turn “all types of limbo” into a home experience. The retrieved version can be viewed by AR on a mobile device, VR headset or on a regular computer. Brandon’s performance remains the same, but, depending on the device used, the experience feels quite different.
To summon some of the theater’s shared intimacy, tickets are being picked up and aired live, although the show has been recorded. Others who attend virtually are represented by rotating white light blades and, By playing with the settings, you can move around the space and see the action from different angles.
It’s a small piece, but “all kinds of limbo” seems like a glimpse of a new art form: somewhere between music video, video game and live cabaret show.
Over the past few years, Britain’s theater scene has become a testing ground for similar experiments. Last spring, the Royal Shakespeare Company co-produced an immersive digital piece called “Dream” featuring actors performing using motion-capture technology and viewing via a smartphone or computer. Other projects, such as the Almeida Theater in London and the show by Dreamthinkspeak Company in Brighton, England, require participants to come face to face and be equipped with VR headsets.
Francesca Panetta, a VR producer and artist who was recently hired as an alternative reality curator at the Sheffield Dockfest Film Festival, said in a video interview that practitioners of audio, gaming, theater, TV and other art forms have never been involved before. . “A lot of different people are trying to explore this space and find out what it really is,” she said. “No one is absolutely sure.”
One of the most eagerly awaited partnerships is between the immersive theater troupe Punchdrunk, which launched live site-specific shows such as “Sleep No More” and “The Mask of the Red Death” in the mid-2000s, and tech firm Niantic, the highly successful AR game Pokemon. Known for Go.