Reference: Latulipe, Celine, Wilson, David, Huskey, Sybil, Gonzalez, Berto, Word, Melissa. Temporal Integration of Interactive Technology in Dance: Creative Process Impacts. In Proc. C&C’11, ACM Press (2011), pp. 107-116.

Summary: Regarding six university productions the text is dealing with questions in organizing a dance production, which includes interactive technology.

In what way will the different components of a performance production have an impact on each other and in which way this could be fruitful or negative for the development? On which parts of the process can be worked parallel and on which has to be worked together? Who has to be present during rehearsal time?

According to the answers on these questions the timing of the whole working process should be set.
There is not one right way of organization, but it depends on every single production, what has to be ready before the actors start their rehearsal. One should be aware of the time when you bring in technology, costumes, props, stage design, light, music/sound, etc. into the production process, because it will have an impact on the workflow and the outcome.

Relevance for our project:

It’s important to be aware, that all components of a performance production are linked. So everybody involved should at several points of the process talk to each other and adjust their work with each other. Considering the experiences of the authors of the text, we should plan our own workflow.

The text proposes a lot of productive questions, we should pose ourselves during the preparation and rehearsal-period as well as according advises:

Concerning Performers, Costumes and included Technique:

Shall performers develop their actions by using the interactive technologies or shall the use of technology respond to the actions of the actors?
Case 1 : Technology has to be ready by the beginning of the rehearsal with the actors.
Case 2: The choreography has to be ready/actors have to be ready to repeat their actions in nearly the same manner, when the technology is integrated into their play.
Case 3: Mixed version of 1 and 2. Technology has to be ready as a trial version by the beginning of rehearsals and both are developed in response of each other.

What hardware is needed for the project?
At least have the needed hardware set and in place before the production cycle begins.

Will the used technical devices be placed in the space or on the bodies of the performers?

Since placing technology on the bodies of the performers always has an impact on their movements, at least fake technology or trial versions of them should be included from the beginning into the working process of the performers.

Shall technology be hidden in costumes or be shown?
How will the body work of the performers have an impact on the devices (Sweat, pressure, etc…)?
Plan time to adjust the devices to resist as long as they are needed.

How much energy does it cost the performers to wear technology?Make performers feel as comfortable as possible in wearing devices!

How long does it take to get the actors into their costumes?Integrate more time in the planning or make the costumes put on more easily

Concerning Space and Technique:

When projections will be used in the play it is necessary to find a lighting atmosphere, which allows the performers to see well enough to be safe and also doesn’t wipe out the projections.

Which technical possibilities are given by the space in which is rehearsed and which in the space in which the performance will be shown in the end?

What will change when moving from one stage to another (be it from rehearsal space to stage or while touring between different stages?

Is there electric noise at the place which could disturb the devices needed for the performance?

Be aware of the used places while working to make the impact of miving as small as possible. Integrate special technical rehearsal time to adjust all components when moving to a new place.

Does the sound match with the acoustic circumstances of the space?Plan time to adjust the sound to the acoustic possibilities of the space.

Concerning the Team:

Who has to be present during rehearsal time?
At certain rehearsals everybody involved should meet. But the smaller the group is, the better, to have a high concentration level. Only people who are immediately needed should be there.

What kind of “care” does the technique require and who will be doing this during rehearsals as well as before, during and after performances?

Make sure if performances should go on or stop if technique isn’t working and who should take care of fixing it.