About

the Time-Room

digital theatre trilogy

<The Time-Room> tries to explore the possibilities of how physicality, spatiality, and temporality, which have been the foundation of existing performing arts work, can experience changes in the digital environment and reach the audience. It will be made into three episodes. The concept of space-time and physicality in dasein is not clearly distinguished, but it becomes a context to recognize others by interlinking. The performance will find out from multiple angles how the characteristics of such performance are changed and recognized in the modern digital performance situation with a theme of each element.

Episode #1

Corpus

Our bodies exist completely separate from each other. But still, we could speak that we meet each other and spend time together. there is space for our encountering, the image of the time-room proof that to us.

2021.11.17-19 & 24-26 14:00(Wed-Thu), 20:00(Wed-Fri), 22:00(Fri) Total 14 times

Episode #2

Ruach

Time has space. Space is filled with time.

Time connects us across space.

We have encounters that rely solely on hearing in the Time-Room.

2022 (planning)

Episode #3

Opsis

Empty stage. The audience traces the actors beyond time and space at the return venue. We experiment with how audiences, who have experienced simultaneity with actors in online performances so far can perceive performances in the absence of actors.

2022 (planning)

The intention of the plan

Preparing for the changing future digital theatre

the digital theatre situation in Europe

the digital transformation of the theatre, which seemed to gradually change with the development of technology, suddenly sent out artists to a digital turning point by the COVID-19 pandemic. Especially in European theatres, where the theatre closure policies have been prolonged nationally, digital theatres were launched in most of the theatre’s homepages and experimental digital performances (new radio play, phone play, zoom interactive play, live streaming performance, VR performance) went on. Accordingly, it was a year of heated concerns about theatricality due to the distinction from other media.

The living conditions to be changed for the future generations- The various infectious diseases are more likely to occur compared to the past generations even after the COVID-19 situation has passed.

Or, the demand of untact performing venues are expected to increase considering the change of future live patterns with increasing restrictions on outdoor activities according to the climate crisis. Therefore, It is thought that the challenge of research and work regarding digital theatres are constantly necessary in Korea as well to prepare for changing future theatres.

□ The steps to get ready for this - Three episodes will be produced in order to examine the possibility regarding what changes physicality, spatiality, and temporality which have been the foundation for the existing theatre works went through in digital environments, and how they work for audiences so they can experience the existence.

Episode by episode structure

Episode #1 Corpus

Experiments regarding physicality - ZOOM Meeting

Actors and audiences exist in a distance where they can never reach each other physically, while audiences who experienced the body of actors without touching them in spite of reachable distance in the existing theatre where the existence of actors and audiences was regarded the important move to digital spaces. However, the visual distance has become so close that it has become more emotionally intimate and the devices are becoming the mediators that connect each other's space. Even though it’s not possible to touch another person’s body, we recognize someone else’s body with each other’s physical sense like the sense of the distance between the stage and seats.

Episode #2 Ruach

Experiments about spatiality- voice SNS

The visual space shared by actors and audiences is totally eliminated. Through the conversation between the audience and the actors, the space is created individually in each individual's mind. Let's look at the difference between each imaginary space formed by each other's voices and stories and the space added by the audience's imagination in the set of the existing theatres. By doing so, there would be concerns regarding the space which is not shared visually between audiences and actors.

Episode #3 Opsis

Experiments regarding temporality- audience participation type of theatre works

For online performances, as the place to be performed have changed to online spaces, concurrency shared between audiences and actors has become a very significant factor. However, the third episode excludes the concurrency between the audience and the actor. The experiments on what the current sense here to connect audiences and actors without concurrency would be and whether it could be named as theatrical plays will be conducted.