{"id":352,"date":"2021-05-19T18:42:03","date_gmt":"2021-05-19T16:42:03","guid":{"rendered":"https:\/\/wp.unil.ch\/archas\/?p=352"},"modified":"2023-02-07T21:22:41","modified_gmt":"2023-02-07T20:22:41","slug":"le-making-of","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/archas\/le-making-of\/","title":{"rendered":"Le making-of"},"content":{"rendered":"\n

La recherche d\u2019archives<\/strong>
Searching the archives <\/em><\/strong><\/h3>\n\n\n\n

Pour chaque environnement ont d\u2019abord \u00e9t\u00e9 rassembl\u00e9s des documents d\u2019archive informant sur l\u2019espace \u00e0 cr\u00e9er : des textes d\u00e9crivant ce type d\u2019espace et son utilisation, des mesures chiffr\u00e9es, des images de spectacles. Des dizaines de documents de diff\u00e9rentes \u00e9poques ont \u00e9t\u00e9 s\u00e9lectionn\u00e9s, class\u00e9s, analys\u00e9s et compar\u00e9s pour parvenir \u00e0 une synth\u00e8se.<\/p>\n\n\n\n

For each virtual environment, were first collected archival documents providing information on the theatrical space to be created: texts describing this type of space and its historical uses, quantified measurements, images of past shows. Dozens of documents from different eras have been selected, classified, analyzed and compared to arrive at a synthesis.<\/em><\/p>\n\n\n\n

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L\u2019image du tr\u00e9teau, document ou code visuel ?<\/strong>
The image of the scaffolds, document or visual codification?<\/strong><\/em>
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Les premiers documents en fran\u00e7ais sur le jeu sur tr\u00e9teaux sont des notes de mise en sc\u00e8ne datant du XIVe<\/sup> si\u00e8cle.
\u00ab\u00a0Que soit construit un \u00e9difice de bois comme un tr\u00e9teau, d\u2019une hauteur de six pieds [\u2026] il s\u2019\u00e9tendra du nord au sud, sur une longueur de dix pieds.\u00a0\u00bb (Philippe de M\u00e9zi\u00e8res, De presentatione Marie in Templo,<\/em> Avignon, 1372, texte original en latin).

Les images de tr\u00e9teaux ont \u00e9t\u00e9 essentiellement diffus\u00e9es au XVIe<\/sup> et au XVIIe<\/sup> si\u00e8cle, en particulier aux Pays-Bas. Les sources sont donc bien diff\u00e9rentes. Pourtant elles semblent nous donner des informations coh\u00e9rentes sur les mesures des tr\u00e9teaux. Mais les images des peintres sont-elles des documents fiables ou des codifications visuelles\u00a0? La construction d\u2019un environnement virtuel incite l\u2019historien\u00b7ne \u00e0 questionner ses sources.

The first documents in French informing on theatrical scaffolds are staging notes dating from the fourteenth century.<\/em>

\u201cA six feet high wooden structure in a shape of a scaffold has to be built [\u2026] it will extend from north to south, with a length of ten feet.\u201d(Philippe de M\u00e9zi\u00e8res, De presentatione Marie in Templo, Avignon, 1372, original text in Latin).<\/em>

The images of tr\u00e9teaux were mainly disseminated during the late sixteenth and the sixteenth centuries, especially in the Netherlands. The sources are very different. However, they seem to give us coherent information on the measurements of the scaffolds. But are the painters\u2019 pictures reliable documents or visual codifications? The construction of a virtual environment encourages the historian to question his\/her sources.<\/em><\/p>\n\n\n\n

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Le design des espaces virtuels<\/strong>
Designing the virtual spaces<\/em><\/strong><\/h3>\n\n\n\n
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Les archives s\u00e9lectionn\u00e9es ont permis dans un deuxi\u00e8me temps de choisir un design historiquement pertinent pour les mat\u00e9riaux et les couleurs des espaces sc\u00e9niques, les textures des costumes et les diff\u00e9rentes attitudes des personnages virtuels.
Des choix ont \u00e9t\u00e9 faits concernant les accessoires, l\u2019environnement urbain ou naturel, et l\u2019heure du jour \u00e0 laquelle avaient lieu en g\u00e9n\u00e9ral les spectacles en plein air.
Plusieurs atmosph\u00e8res sonores historiques (bruits ext\u00e9rieurs, r\u00e9actions du public), adaptables au fil du jeu, ont \u00e9t\u00e9 \u00e9labor\u00e9es \u00e0 partir de sources historiques avec l\u2019aide d\u2019un designer son.
Toutes ces propositions ont \u00e9t\u00e9 soumises \u00e0 l\u2019avis d\u2019expert\u00b7es.
Pour que les participant\u00b7e\u00b7s d\u2019ARCHAS aient conscience que la r\u00e9alit\u00e9 virtuelle leur donne acc\u00e8s \u00e0 des th\u00e9\u00e2tres possibles <\/em>du pass\u00e9, l\u2019esth\u00e9tique visuelle a \u00e9t\u00e9 rapproch\u00e9e de celle d\u2019un jeu vid\u00e9o.<\/p>\n\n\n\n

In a second step, an historically informed design, based on the selected archives, was chosen for the materials and the colors of the scenic spaces, the textures of the costumes and the different attitudes of the virtual characters.
Choices have also been made regarding the accessories available to the players, the urban or natural environment, and the time of day when outdoor shows generally took place.
Several historical sound atmospheres (external noise, audience reactions), adaptable over the course of the game, were developed with the help of a sound designer.
All the proposals have been submitted for expert advice.
To make ARCHAS participants aware that virtual reality gives them access to possible past theatrical experiences in Western history, the visual aesthetic has been brought closer to that of a video game.<\/em><\/p>\n\n\n\n

Typologie de son tr\u00e9teaux<\/a>T\u00e9l\u00e9charger<\/a><\/div>\n\n\n\n
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    Les sc\u00e9narios interactifs<\/strong>
    Creating interactive scenarios<\/em><\/strong><\/h3>\n\n\n\n
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    Pendant le travail ont enfin \u00e9t\u00e9 cr\u00e9\u00e9s plusieurs sc\u00e9narios permettant aux participant\u00b7es d\u2019exp\u00e9rimenter diff\u00e9rentes interactions avec les personnages virtuels, afin d\u2019apprendre et de r\u00e9fl\u00e9chir \u00e0 l\u2019histoire de la communication th\u00e9\u00e2trale.
    La personne qui joue peut \u00eatre t\u00e9l\u00e9port\u00e9e parmi le public ou sur l\u2019aire de jeu, tandis que les spectateurs virtuels peuvent tour \u00e0 tour l\u2019observer, rire, murmurer, applaudir, huer ou partir. Ces divers comportements sont activ\u00e9s par les autres participant\u00b7es d\u2019ARCHAS afin de provoquer des r\u00e9actions de la personne qui joue. Que faire si le public ne semble pas attentif\u00a0? Comment r\u00e9agir face \u00e0 des spectateurs qui crient\u00a0?
    Le but est de faire r\u00e9fl\u00e9chir aux mani\u00e8res de jouer un personnage et d\u2019interpr\u00e9ter une pi\u00e8ce dans des conditions qui ne sont plus les n\u00f4tres aujourd\u2019hui.<\/p>\n\n\n\n

    Finally, several scenarios have been conceived allowing the players to experiment various interactions with the virtual characters, and inviting them to learn and reflect on the history of theatrical communication.
    Depending of the scenario, the player can be teleported among the audience or on the scenic area, while virtual spectators can alternately watch him\/her, laugh, whisper, clap, boo or walk away. These various behaviors are activated by other participants in order to elicit reactions from the player. What if the audience doesn\u2019t seem to be paying attention? How to react to shouting spectators?
    The goal is to make ARCHAS participants think about ways of interpreting a character and performing a play in conditions that are no longer ours today.<\/em><\/p>\n\n\n\n

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    <\/p>\n","protected":false},"excerpt":{"rendered":"

    La recherche d\u2019archivesSearching the archives Pour chaque environnement ont d\u2019abord \u00e9t\u00e9 rassembl\u00e9s des documents d\u2019archive informant sur l\u2019espace \u00e0 cr\u00e9er : des textes d\u00e9crivant ce type d\u2019espace et son utilisation, des mesures chiffr\u00e9es, des images de spectacles. Des dizaines de documents de diff\u00e9rentes \u00e9poques ont \u00e9t\u00e9 s\u00e9lectionn\u00e9s, class\u00e9s, analys\u00e9s et compar\u00e9s pour parvenir \u00e0 une synth\u00e8se. […]<\/p>\n","protected":false},"author":1002108,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_analysis_target_kw":"","footnotes":""},"categories":[8],"tags":[15,26,27,18,28,21,22,25],"class_list":{"0":"post-352","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-tools","7":"tag-archives","8":"tag-environnement-sonore","9":"tag-environnement-visuel","10":"tag-interactivite","11":"tag-jeu-video","12":"tag-personnage","13":"tag-spectateur","14":"tag-treteaux"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/posts\/352","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/users\/1002108"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/comments?post=352"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/posts\/352\/revisions"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/media?parent=352"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/categories?post=352"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/tags?post=352"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}