"In this way the puppeteers would be part of the development of the prototypes for the virtual puppets as well as the characters for the play, before the actual rehearsals would begin two month later. ...
The value of the actual meetings and workshops can not be emphasised enough. This gave the participants hands on experience with the constraints in the actual equipment and a chance to meet the team that would be responsible for operating it. It is not until the artist has a very physical and intuitive impression of the material and the involved people the creative process takes off for real–before this everything is abstract ideas. ...
In the planning of the research project and the actual production the division of labour within and between each field of activity were specified as outlined in section 3.
As the process went on the borders became more blurred exploring the new field between creative production in theatre and animation and methods from computer science and systems development. One of the big challenges was the development of a common language between the artist and the programmer/technicians and to define and invent new methods that were necessary to carry out the production.
I tried to explore the numerous reasons for this in the evaluation phase of the project. This was done by conducting qualitative interviews with the participants and by reviewing the large body of video documentation from the process. The footage was edited to a 50 minute documentary about the project on which the following assumptions are based (Callesen 2001)."
(Jørgen Callesen, 2003, p.15,18,30)
Callesen (2001) Virtual Puppets in Performance, Proceedings, Marionette: Metaphysics, Mechanics, Modernity, International Symposium, University of Copenhagen, 28. March – 1. April, 2001
Callesen, J. (2003) "The Family Factory – Developing new Methods for Live 3D Animation" in Madsen, K.H. Production methods: behind the scenes of virtual inhabited 3D worlds. Springer–Verlag, London.
"It must be tough being a cartoon band. For one thing, you don't exist. At a time when concert tickets are what really makes bands profits due to easy online music file sharing, to not exist on stage is a death wish.
I get the feeling that one of the world's first and largest cartoon bands, the Gorillaz, understands their predicament. On one hand, if the artists behind the Gorillaz were to perform live, it would completely undo the novelty of being a cartoon band with made–up personalities. For example, the guitarist is supposedly a ten year old Japanese girl who showed up mysteriously in a Fed–Ex box at the band's doorstep. If the fans were told they were going to see the Gorillaz and instead see Miho Hatori (the real guitarist), they would surely be disappointed to find a more normal–looking band member. On the other hand, not touring would likely mean the end of the band.
Ingeniously, the Gorillaz have come up with a solution. They will tour. Instead of physically being on stage, they will instead be represented by 3D holograms."
(Jacob Heller, 19 September 2005)
Fig.1 Manchester International Festival Presents Gorillaz – Demon Days Live At Manchester Opera House – 01/11/2005