XR Audience Centred Design - The Future of Immersive Theatre

XR 以观众为中心的设计 - 沉浸式剧院的未来

• 批准号: 133753
• 金额: $ 5.53万
• 依托单位: LIMBIK LIMITED
• 依托单位国家: 英国
• 项目类别: Feasibility Studies
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=133753
• 关键词: XR; Audience; Centred; Design; Future

"The future is digital: how would audiences like technology to integrate with theatre? _Fatherland XR_ brings together live theatre performance with cutting-edge digital technology - blurring the barrier between reality and virtual reality. For the first time, in a theatre setting, a whole audience can enjoy a virtual reality experience at the same time - without the need for everyone to wear a headset. Headsets are problematic, they are a barrier for many, and a significant number of theatregoers are reluctant to engage with them. By putting the audience at the heart of the design, we now want to continue to push the boundaries of technology - asking what our audience would like next, and how we can design the experience to best suit them.Our approach uses the same technology that creates animated avatars in films. Using motion capture, we create characters, scenes and imagery in a virtual reality headset, live onstage. An actor onstage wears trackers on their body, so they can be projected into the virtual reality. Audience volunteers wear a headset and interact simultaneously with the onstage actor and with their character portrayed in virtual reality. The rest of the audience sees the volunteers' experience projected on to giant screens. The audience thus see double: both the reality of what is unfolding onstage between the actor and the headset-wearing volunteer, and how that action takes shape in virtual reality. At different stages of the performance, other volunteers are asked to take part and engage in the development of the story.By putting the audience at the heart of the design, we can test a number of different technological and theatrical possibilities to understand which are preferable to the audience. _Fatherland_, in its original concept, provided a revolutionary way for theatregoers to experience VR without the need to use a headset. This next step allows us to do feasibility and audience testing to ensure that future advancements are developed with the audience's needs and priorities at the heart of the design. This allows us to focus not on what the technology could -- or should -- do, but what our audience want it to do. Through this process of discovery, we will add definition to this newly emerging technology. The project will develop performance with audience's needs centrally in mind, allowing us to deliver exciting innovative theatre to delight those it was designed for - it's audience."

“未来是数字的：像技术这样的观众将如何与戏剧融为一体？通过将观众放在设计的核心中，我们现在想继续推动技术的界限 - 我们的观众接下来是什么，我们如何设计经验来最适合他们。 现实。观众志愿者戴着耳机，并与舞台演员同时互动，并与虚拟现实中描绘​​的角色同时互动。其余的观众看到志愿者的经验投影到了巨大的屏幕上。因此，观众看到了双重：演员与戴头巾志愿者之间正在舞台上展开的现实以及该动作如何在虚拟现实中形成。在表演的不同阶段，其他志愿者被要求参加故事的发展。通过使观众成为设计的核心，我们可以测试许多不同技术和戏剧性的可能性，以了解对观众更偏好的技术和戏剧性可能性。 _fatherland_在其原始概念中，为戏剧家提供了一种无需使用耳机而体验VR的革命性方式。下一步使我们能够进行可行性和受众测试，以确保以观众的需求和优先事项在设计的核心上发展未来的进步。这使我们不专注于技术可以或应该做什么，而是我们的听众希望它能做什么。通过这一发现过程，我们将为这项新兴的技术添加定义。该项目将牢记观众的需求发展表现，使我们能够提供令人兴奋的创新剧院，以使其设计的人感到高兴 - 它的观众。”