Using MIxed reality for Noh training
Me attempting to learn and rehearse the Kuse from Funabenkei while using the metaquest 3 augemented reality to support.
Projection tests of Virtual
Postgraduate Conference 2024
Here is a 10 minute presentation where i explore the parralalels of LIminality in Noh theatre and VR.
Studio Practice
This starts the process of bringing the virtual into the studio,
The Virtual space has been created in UNity and Vrchat, and is now being projected onto a gauze material, so the projection can be 'entered' trhough using light behind. These are rough tests and the light and projection need to be considered.
The use of volumetirc capture into the scene is very exctiing and shows thre contrasts in the types of movement capture. It brings a sense of realness of digitally created environemnts. The mannequin avatar also use body tracking data, so once again tryinh to fuse in real natural action to digital environments.
This has no true contstruction at the moment. its just many elements thrown onto a virtual stage. the audio is from the righ play but is a random section, The shite and Kuse is being performed at the sametime, this wouldn't be considered traditonal. But this is just protoyping.
Ideally the constituent parts will be ordered to achieve
'Jo-ha-kyū' a japanese concept applied to a wdie range of arts of three parts, jo - begining - ha - scattering - kyu - climax.
I intend to introduce with first kuse of the femal dancer, then the demon dance volumetrically captured and finish with the meditation of Bernkei.
Volumetric Capture
I have been trying to combine different technolgies which represent different elements of liveness. With the Mannequin the movements are seen to be that of people moving, data collected and applied to an avatar, But with the Volumetric capture the person is captured in 3d motion. Both these capture have aspects of liminal action, data left behind,
Development
Working within Unity develop[ing the Metaflower piece
Metaflower Space and Fire Creation
Noh Female Mask
Funa Benkei
"It was the end of the Heian period. The long-running war between Genji and Heike clans was won by the renowned general of Genji, Minamoto no Yoshitsune. He, however, fell out with his elder brother Yoritomo and was forced to leave the capital, fleeing to the west only with his retainer Musashibo Benkei, his lover Shizuka Gozen, and a few companions. It is a lonely wandering journey that is a far cry from the splendor of winning a historic battle.
The highlight of the first half is Shizuka Gozen’s dance. Shizuka, who has finally accepted Benkei’s advice that she should return to the capital, chants and dances, hoping for Yoshitsune’s safety and the day when he will come back to the front stage again.
In the latter half of the scene, the group goes out to sea, but the wind and rain are getting fiercer, and the atmosphere around them is unsettling. Then, the ghosts of the Heike clan appears in the sea. The commander-in-chief is Tairano Tomomori, who committed suicide bearing a grudge in the last battle with Yoshitune. The spirits attacked Yoshitsune’s boat at once to sink it into the sea. In order to save his master, Benkei confronts the ghosts with the mythical power of Buddhism."
https://www.artscouncil-tokyo.jp/en/events/45440/
Richard Emmert and The Kuse
I attended the Royal Holloway Japanese Noh theatre training taster under the instruction of Richard Emmert,
professor of Asian performance at Musashino University in Tokyo. He has taught and performed classical noh drama since 1973 and is a certified Kita school noh instructor.
Here he performs the Kuse from funabenkei which I intend to acheive in the Virtual.
The Kuse and the Kiri
The shite, main performer, performs these partrs,
The Kuse and the Kiri are small peicesa of narration, poetry and dance within the larger scenes.
These two contrast with eachother with one being a soft farewell dance and the other a vengeful spirit.
I will attempt the Kuse live in Virtual reality.
At the same time I will present a performance by someone else in the Kiri, as it is beyiond my skill base.
Also the role I play will be female, and the role she will play will be male.
This coincedentelly falls in with concepts of gender liminality,
Funabenkei Full traditional
Here is a full performance of Funabenkei, to see it in its original style is powerful, and has helped me to relate the training I recieved on the summer school at Royal Holloway.
Royal Holloway Noh Theatre Summer School
Avatar Blender and Unity Tests
Here, I engaged with both Unity and Blender software to create an Avatar. Attempting to understand how I could work with Masks, I beleive this to be a Hanya mask just applied.
