Theatre Design & Technology - Fall 2014 - 26

Figure 4. A conceptual sketch for the "Elysian Fields" Virtual reality
technology is used to plan the production as well as execute the CGI
scenography.

Figure 5. Zero and Daisy in the Elysium Fields. Note the live images of
the chorus inserted into the scene. Also note the video footage of sunlight
through trees most evident of the stage floor.

and singing "My Country 'Tis of Thee," the wallpaper in the Zeros' apartment and the background of the New York tenements
changes to a green and black and yellow version of American
flags indicating the characters' warped version of the American
dream. Later in the play, our version of paradise, the Elysian
Fields, was filled with famous works of art. On cue with the
music, the virtual canvases displaying Van Goghs, Manets, and
Salvador Dalis, change to a live camera feed showing an offstage chorus singing haunting temptations to Mr. Zero (figs. 4,5
and 6).
The episodic nature of Adding Machine was also well
suited to the use of virtual reality scenery. The many different
locales of the play could appear before the audience in the
blink of an eye rather than through the use of traditional scenic methods of shifting scenery, flying elements, turntables, etc.
The only physical objects we shifted from scene to scene were
a set of round stools, each painted like the keys of an adding
machine that the actors brought with them or took away during
entrances and exits (figs. 3, 5, and 6). The only other elements
that figured in the shifting from scene to scene were minor costume changes. These were facilitated by having costume items
such as jackets and hats located on coat trees on either side of
the playing area. In all, the shifts from one scene to the next
took all of three or four seconds.
One object or device that was common to each of the
CGI scenes was a clock. The continual allusions to Mr. Zero's
wasted life and the dramatic device of numbers throughout the
play suggested that a variety of clocks appear within the scenes.
Each clock was different in size and style, and each had a
unique movement. Some clocks ran in almost normal fashion.
Some, such as the clock in the execution room, moved very
fast. On others, such as the one in his workplace, the hands
move backwards. In some scenes the clocks had three or four
hands, in others none at all (figs. 1 and 3)

The Lighting

digital content being projected from the front of house instruments would show to its best advantage.
The CGI scenery for this show, in keeping with the style of
the play, was decidedly surrealistic. Each scene projected onto
the screen contained elements that were realistic but in a configuration or combination that fit the expressionist nature of the
play (fig. 2). As the play progressed into scenes that were more
fantastic in locale-the Elysian Fields, heaven, the reincarnation mechanism-the elements became more and more surreal and fantastic (fig. 3). This type of style is wonderfully suitable
for CGI graphics, in which objects do not have to adhere to
the laws of physics. Objects can float, grow, turn inside-out, or
change color and texture at the direction of the backstage CGI
operator. For example, as the racist and bigoted conversation
at Mr. and Mrs. Zero's party escalates into the cast standing up

26

theatre design

& technology

f

a

l

l

2014

The addition of digital projectors as key lighting instruments
was the unique feature in this production that set it aside from
previous experiments in CGI stagecraft. Our intent was to explore and communicate the inner worlds of the play's characters through the use of front projections which were cast over
the performers and onto the floor throughout the production.
The projections used for lighting were comprised of
both still images and looped animations. The animations
came from several sources. Some were captured with a digital camera. Others, such as silent movies, were downloaded
from sources on the web. Still others were created using 3-D
modeling software, in our case Cinema 4D. These still images
and animations were loaded onto two computers, one stage
right and one stage left, and controlled using Isadora software
from TroikaTronix. Isadora is a real-time video manipulation
software that allows you to set up images and movie clips in
a series of presets. It also allows you to manipulate the CGI
images in a great variety of ways. Colors can be manipulated.



Theatre Design & Technology - Fall 2014

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2014

Contents
Theatre Design & Technology - Fall 2014 - BB1
Theatre Design & Technology - Fall 2014 - BB2
Theatre Design & Technology - Fall 2014 - Cover1
Theatre Design & Technology - Fall 2014 - Cover2
Theatre Design & Technology - Fall 2014 - 1
Theatre Design & Technology - Fall 2014 - 2
Theatre Design & Technology - Fall 2014 - Contents
Theatre Design & Technology - Fall 2014 - 4
Theatre Design & Technology - Fall 2014 - 5
Theatre Design & Technology - Fall 2014 - 6
Theatre Design & Technology - Fall 2014 - 7
Theatre Design & Technology - Fall 2014 - 8
Theatre Design & Technology - Fall 2014 - 9
Theatre Design & Technology - Fall 2014 - 10
Theatre Design & Technology - Fall 2014 - 11
Theatre Design & Technology - Fall 2014 - 12
Theatre Design & Technology - Fall 2014 - 13
Theatre Design & Technology - Fall 2014 - 14
Theatre Design & Technology - Fall 2014 - 15
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Theatre Design & Technology - Fall 2014 - 18
Theatre Design & Technology - Fall 2014 - 19
Theatre Design & Technology - Fall 2014 - 20
Theatre Design & Technology - Fall 2014 - 21
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Theatre Design & Technology - Fall 2014 - 42
Theatre Design & Technology - Fall 2014 - 43
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Theatre Design & Technology - Fall 2014 - Cover3
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