Performance

 Between  the  Real  and  the  Virtual:  The  Odiseo.com  Project  

 
 
André  Carreira  (CNPq/UDESC)  
 
 
This   paper   is   about   the   experience   of   Odisseo.com,   an   one   hour   performance   that  
brings   together   three   actors   in   three   different   countries   connected   through   the  
Skype   platform.   It   tells   the   story   of   a   contemporary   Ulysses   who,   while   in   Buenos  
Aires,   finds   himself   divided   between   Laura   (Penelope)   who   lives   in   Bremen,  
Germany,  and  Elisa  (Calipso)  who  lives  in  Florianopolis,  Brazil.  
 
The  mise  en  scène  in  brief  
 
Spectators  at  each  of  these  three  locations  watch  local  and  virtual  scenes:  while  in  
Bremen  the  experience  is  shared  with  a  group  of  five  women  in  an  small  apartment  
or  in  a  bar,  in  Florianopolis  spectators  are  sited  on  chairs  arranged  for  the  purpose  in  
the   living   room   of   an   apartment,   and   in   Buenos   Aires   the   actor   is   exposed   to   the  
gaze  of  the  spectators  who  surround  him  in  a  fifty-­‐square-­‐meter  room,  a  replica  of  
an  executive  hotel  room  installed  at  the  Theatre  CELCIT  in  Buenos  Aires.  
 
Ulysses,   his   wife   and   his   mistress   talk   via   Skype   in   real   time.   The   performers   interact  
in   an   ongoing   triangular   relationship   between   a   businessman   who   is   constantly  
traveling,   his   mistress,   and   his   wife.   Unwilling   to   wait   for   him   indefinitely,   the   two  
separated  women  press  him  to  make  a  decision  and  go  back  to  what  each  of  them  
considers   home.   What   we   see   on   stage   is   a   long-­‐postponed   crisis   that   is   about   to   be  
resolved  right  before  our  eyes.    
 
Even   though   one   of   its   outstanding   features   is   the   use   of   Internet-­‐based  
communication,  the  project  was  not  conceived  as  an  opportunity  to  experiment  with  
virtual  technology  in  the  creation  of  a  performance,  but  is  born  from  the  desire   of  
collaboration  between  the  actor  Juan  Lepore  and  me.  Living  in  different  cities,  and  
unable  to  find  the  time  and  resources  to  travel  and  get  together,  we  found  ourselves  
usually   talking   via   Skype,   and   this   tool   soon   revealed   its   potential   as   a   creative  
element  of  the  production.  
 
Once   we   decided   to   use   Skype   as   our   communication   media   during   the   processes   of  
discussion   and   creation,   such   element   imposed   itself   as   an   important   tool   in   the  
dramaturgy   of   the   scenes,   because   it   was   possible   to   structure   a   performance   in  
which  separate  actors  would  be  able  to  interact  simultaneously.  First  we  decided  the  
media   and   than   we   began   to   discuss   the   script   with   the   author   we   invited   to  
participate.  This  was  Marco  Antonio  de  la  Parra,  a  Chilean  dramaturge.  De  la  Parra,  
considering   the   distance   between   director,   actor   and   actresses,   proposed   Ulysses  
conflict  in  The  Odyssey  as  a  starting  point  to  develop  a  script.    
The   result   is   Odiseo.com   an   intermedia   performance   that   discusses   the   concept   of  
distance  and  the  reality  mediated  by  internet,  in  an  interpersonal  relationship.  
 
Since   the   project   involves   different   countries,   apart   from   experimenting   virtual   tools  
that  was  new  for  the  actors,  we  had  to  deal  with  the  issue  of  language.  We  choose  
Spanish  ––  including  at  the  scene  in  Brazil  ––,  because  most  people  in  the  team  were  
Spanish  speakers.    
 
One   fundamental   instrument   of   the   staging   was   the   use   of   television   screens  
showing   what   happened   in   other   countries,   which   meant   that,   at   each   location,  
spectators   ––   depending   on   their   placement   ––   were   exposed   to   a   realistic   scene,   in  
which  the  Skype  device  was  part  of  the  everyday  life  of  the  characters.    
 
During   the   presentations   we   soon   realized   that   in   addition   to   the   first   level   of  
reception   ––   the   interaction   between   actor   and   spectators   in   their   respective   rooms  
––  a  second  level  of  interaction  was  happening  between  viewers  and  characters  that  
appeared  on  the  screens.  In  these  screens  it  was  also  possible  to  the  audience  of  one  
place   to   observe   the   reactions   of   the   audience   placed   in   another   space,   and   in  
different  points  of  view,  as  the  actors  moved  around  carrying  notebooks  or  IPads.  
 
In  order  to  guarantee  the  presence  as  a  performance  key,  we  decided  not  transmit  
the  production  by  streaming  to  an  open  public.  The  use  of  Skype  was  intended  as  an  
instrument   to   propitiate   a   sense   of   reality   in   a   virtual   communication,   and   we   felt  
that  a  stream  transmission  would  create  a  different  reading  from  that  we  had  during  
the  rehearsal  process.  This  naturally  limited  the  number  of  spectators.  
 
The  virtual  and  simulation  
 
We   are   spatial   and   temporal   beings,   says   a   Brazilian   thinker,   Marilena   Chauí   in   an  
article  about  Merlau-­‐Ponty:  “Our  body  is  a  sentient  being  aware  of  itself;  it  is  a  way  
of  being  in  the  world”  (Chauí,  2014).  However,  when  the  time  and  space  references  
are  no  longer  at  the  centre  of  our  experience  ––  as  happens  with  the  Internet  and  
the  virtual  world  ––  we  are  forced  to  rethink  all  our  relationships.  
 
The   dissolution   of   space   and   time,   that   is   a   common   experience   in   the   present   time,  
creates  a  condition  marked  by  placelessness  and  achrony  (absence  of  time).  We  live  
in  an  era  in  which  we  are  no  longer  fascinated  by  the  possibilities  to  talk  to  people  in  
other  side  of  the  planet,  sharing  images  and  data  simultaneously.  
 
The  virtual  world,  as  we  perceive  it,  seems  to  be  defined  more  by  what  it  hides  from  
our   senses   than   for   what   it   reveals.   If   virtual   reality   shortens   distances,   speeds   up  
processes,   and   facilitates   contacts,   it   does   so   by   disseminating   a   ‘deluge   of  
information’,  to  use  Pierre  Levy’s  expression.  
 
Another   key   element   of   the   performance   is   the   discussion   about   the   construction   of  
realities   through   the   use   of   the   Internet   communication   devices.   The   thing   is   how   in  
our  daily  lives  we  tend  to  believe  that  everything  they  show  is  true.  We  forget  the  
fact  that  they  are  always  edited,  cut  out  by  screen  boundaries.  Odiseo.com  seeks  to  
discuss   these   subjects   and   challenge   the   sense   of   closeness   and   intimacy   brought   by  
the   proliferation   of   the   virtual   media   in   our   lives,   figured   by   the   so-­‐called   “social  
networks”.    
 
In   virtual   reality   the   human   body   finds   an   extension   of   itself   above   and   beyond  
spatial   constraints.   Currently,   our   brain   can   project   itself   through   space   and   time  
demolishing  boundaries,  to  the  point  of  abolishing  these  categories  altogether.  The  
fact  that  the  universe  is  online  24  hours  a  day  implies  a  change  of  perception  of  both  
space  and  time,  as  well  as  of  our  place  in  this  new  universe.  
 
However,   it   is   impossible   to   face   the   virtual   world   without   being   confronted   by   its  
own   ambivalence:   in   bringing   things   closer,   it   creates   a   false   sense   of   closeness.  
Pierre  Levy  sees  the  virtual  world  as  a  ‘de-­‐territorialized  entity’,  remarking  its  “ability  
to   produce   concrete   manifestations   at   different   times   and   at   certain   places,   without  
being  itself  tied  to  a  particular  place  or  time”  (2009,  p.  47).  This  is  a  world  in  which  
the   concrete   appears   once   more   as   ‘hearsay’,   where   the   material   is   nothing   but   a  
perception,   an   acceptance,   a   shared   construction.   Though   this   may   reaffirm   the  
sense  of  the  virtual  ––  since  nowadays  we  are  contented  to  think  of  our  world  as  a  
construction   and   not   as   something   given   and   external   to   our   perception   ––   we  
cannot   help   suspecting   the   veracity   of   things   and   information.   Given   the   times   of  
suspicion  we  live  in,  it  is  natural  that  we  question  the  ability  of  the  virtual  world  to  
offer  us  a  life  filled  with  the  relationships  we  desire.  
 
Odiseo.com   touches   this   problem   from   the   first   scene,   in   which   everyday   life   is  
represented   with   a   high   level   of   realism.   In   the   Brazilian   location,   for   example,   we  
decided  to  use  a  residential  apartment  with  only  a  minor  modification  in  the  dining  
room  in  order  to  install  seats  for  the  viewers-­‐turned-­‐voyeurs.  They  find  themselves  
in   someone   else’s   home   witnessing   a   moment   in   the   life   of   a   woman   who   is   the  
mistress  of  a  man  who  finds  himself  in  a  hotel  in  Buenos  Aires.  The  spectators  are  
very  close  to  the  woman’s  movements,  and  can  also  see  the  characters  at  the  other  
locations  of  the  performance  on  a  large  TV  monitor.  
 
Witnessing  Elisa’s  routine  as  she  talks  to  her  lover,  bathes,  and  talks  to  her  mother  
and  friends,  viewers  realize  that  what  they  see  is  different  from  the  reality  conveyed  
to   her   lover   on   Skype.   Though   this   constitutes   an   element   of   humour,   it   is   mainly   an  
ideological  component  of  the  performance.  
 
The   dialogue   through   Skype   is   a   simulation   articulated   as   though   it   were   a   real  
contact.   Equipped   with   picture   and   sound,   and   the   ability   to   move   through   space   ––
since  the  iPad  is  portable  and  works  with  wireless  signal  ––  the  virtual  chat  allows,  as  
Pierre  Levy  observes,  “that  a  person  explores  more  complex  models  and  in  greater  
numbers   than   if   they   were   reduced   to   the   resources   of   their   mental   imagery   and  
short-­‐term  memory”  (2009,  89).  This  simulation  works  simultaneously  at  two  levels:  
On  the  one  hand  it  offers  itself  as  an  image  of  reality,  and,  on  the  other,  it  assumes  a  
narrative  action  as  it  selects  the  information  and  images  that  are  to  be  transmitted.  
The  use  of  the  camera  presupposes  the  editing.  
 
Although   communication   via   Skype   offers   a   more   interactive   experience   than  
telephone  communication,  the  live  image  compromises  the  participants’  bodies  and  
limits  the  spectrum  of  actions  that  can  be  performed  simultaneously.  However,  once  
the   frame   angle   of   the   camera   has   been   established,   it   is   possible   to   engage   in  
multiple  activities,  as  long  as  the  screen  shows  a  picture  on  which  the  dialogue  can  
concentrate.   In   spite   of   having   image   as   its   distinctive   feature,   this   type   of  
communication   via   webcam   precludes   eye-­‐to-­‐eye   contact,   which   is   one   of   the  
fundamental  practices  of  interpersonal  communication.  When  we  seek  to  offer  our  
gaze  to  our  interlocutor  we  have  to  aim  at  the  camera,  and  at  this  point  we  can  no  
longer   look   the   person   in   the   eye.   What   we   get   on   the   screen   is   an   image   at   a  
different  angle  ––  a  symbolic  mismatch  in  conversations  via  Skype,  no  doubt,  which  
new  technologies  are  trying  to  solve.  
 
When  what  we  see  on  the  screen  is  a  hand  indicating  that  contact  is  not  possible  at  
the  moment  ––  as  happens  between  a  visitor  and  a  prisoner  in  an  isolation  cell  ––  
we   are   being   told   how   in   virtual   communication   we   must   develop   a   repertoire   of  
actions   and   gestures   if   we   are   to   convey   meaning   to   the   other   part   (some   degree   of  
representation   will   be   required).   For   the   new   generations,   born   in   virtual  
communication  times,  using  communicational  devices  such  as  writing  in  UPPER  CASE  
letters   to   convey   the   feeling   of   volume   or   enthusiasm,   or   performing   specific  
movements  in  front  of  the  camera  to  emphasize  the  information,  is  a  natural  thing.  
Communication   procedures   are   intensified,   and   the   artificial   has   become   the  
preferred   tool.   To   convey   a   sense   of   reality   through   the   Skype   video,   we   must  
expand   our   repertoire   of   gestures   and   theatricalize   carefully   what   we   intend   to   be  
read  as  real.  
 
 
The  process  of  testing:  The  virtual  and  the  intimate  
 
Having   considered   the   features   of   a   performance   that   converses   with   the   virtual  
world,   I   move   now   to   reflect   on   the   rehearsals.   Given   the   condition   of   spatial  
separation  inhierent  to  the  project,  the  rehearsals  had  to  follow  a  different  process.  
Even   though   I   worked   all   the   time   in   presence   of   an   actress   in   Brazil,   and   conducted  
some   rehearsals   in   Buenos   Aires,   the   base   of   the   rehearsal   process   was   the   Skype  
platform.  
 
Our   rehearsals   combined   the   procedures   common   to   theatre   forms   with   image  
capture   techniques   of   cinema   and   television.   Working   with   Skype   meant   that   we  
constantly   had   to   deal   with   interruptions   in   communication,   signal   delays,   and   the  
freezing  of  images.  Therefore,  in  order  to  maintain  the  rhythm  of  communications,  
apart   from   the   Skype   platform   on   the   stage,   we   used   to   text   and   Whatsapp  
messages  on  our  mobile  phones.  This  led  us  to  think  of  rehearsals  in  more  than  one  
way,   which   directly   impacted   the   construction   of   the   final   scene,   as   well   as   the  
script.  To  ensure  synchronicity  between  the  three  countries,  a  support  team  of  two  
technicians  ––  one  in  Buenos  Aires  and  another  one  in  Florianopolis  ––  maintained  
constant  communication  throughout  the  performance  using  a  private  Skype  account  
and  the  Whatssap.  
  
Rehearsals  on  Skype  forced  us  to  use  a  support  camera  in  order  to  have  command  
over  the  whole  staging  area.  In  this  way,  it  was  possible  for  me  to  see  the  scene  in  
Brazil,   follow   the   images   on   Skype   as   they   entered   it,   and   watch   the   Buenos   Aires  
scene  almost  as  a  spectator  would  in  the  room.  However,  limitations  in  image  quality  
made   it   necessary   to   move   the   camera   to   follow   the   actor,   as   though   it   were   the  
director’s  eye.  This  was  made  possible  through  the  collaboration  of  an  assistant  who  
handled  the  camera  and  commented  on  the  scene  simultaneously.  
 
Working   on   these   two   perspectives   made   it   possible   to   adjust   the   intensity   of   the  
actor’s   work   in   Buenos   Aires   and   Bremen   ––   assuming   a   place   in   his/her   local  
audience  ––  while  articulating  the  possibilities  for  his/her  projected  image  in  Brazil  
and   Germany.   The   use   of   at   least   two   computers   at   each   location   offered   two  
viewpoints  from  which  the  development  of  the  scenes  could  be  followed.  
 
The   actors   faced   great   difficulty   in   trying   to   build   their   image   through   video   while  
preserving  their  relationship  with  the  gaze  of  the  audience  at  their  respective  places.  
It   must   be   said   that   the   team   of   actor   and   actresses,   despite   their   experience   in  
theatre,   had   little   practice   in   film   and   television,   which   means   little   command   of   the  
language   of   video.   Even   though,   all   of   them   knew   how   to   Skype,   their   experience  
was   limited   to   private   conversations.   Although   the   Skype   voice-­‐and-­‐image   session  
screen   shows   the   images   of   both   parts   (the   caller’s   usually   appearing   in   a   small  
frame  at  the  lower  right  hand  corner  of  the  screen)  it’s  hard  to  tell  how  viewers  at  
the   various   locations   perceive   each   other’s   performances.   In   real   life,   this   small  
picture   ––   which   represents   the   actual   area   covered   by   the   camera   ––   helps   the  
caller   modulate   the   information   they   want   to   convey   during   a   conversation,   and   it  
became   instrumental   in   building   scenes   throughout   the   play.   In   one   of   them,   for  
example,   Elisa   simulates   a   suicide   attempt   with   the   intake   of   alcohol   and   pills   by  
placing   a   bottle   of   whiskey   and   a   jar   of   pills   within   sight   of   the   camera   and   comes  
close  to  the  lens  to  show  her  face  under  the  effect  of  alcohol.  
 
This   scene   is   an   example   of   the   duplicity   of   realities   brought   about   by   technology.  
While  viewers  in  Brazil  could  see  the  whole  process  of  building  the  scene,  and  how  
the  character  was  framing  its  appearance,  in  Buenos  Aires  the  image  presented  left  
out  all  that  information,  conveying  a  truer  texture  to  the  suicide  simulation.  
 
The  improvisational  character  of  the  performance  was  directly  related  to  the  use  of  
technology.   As   mentioned   earlier,   the   script   was   written   on   demand   once   the  
communication  modality  and  the  three  locations  had  been  defined.  As  Skype  was  an  
essential   part   of   the   project1  we   knew   we   could   expect   a   lot   of   improvisation.   We  
planed   to   start   using   Skype   and   from   there   let   the   actors   synchronise   dialogues   with  
the   use   of   the   Internet.   However,   the   structuring   element   of   the   text   was  
instrumental   for   the   staging,   as   it   increased   the   margin   of   manoeuver   and  
improvisation  with  the  chance  factor  inherent  in  the  use  of  an  Internet  connection.  

                                                                                                               
1  ––  at  some  point  we  even  thought  of  naming  it  Ulises.skype,  but  eventually  

dropped  the  idea  due  to  copyright  issues––  

Hence   we   had   two   action   plans   for   the   rehearsals:   the   memorized   text,   which  
marked   the   duration   of   each   block   of   scenes   and   the   synchronicity   between   the  
locations;   and   the   improvisation   that   came   either   from   communication   glitches   or  
during   those   lapses   without   Skype   in   which   the   scenes   turned   inwardly   to   the  
characters.  During  rehearsals  we  even  provoked  deliberate  interruptions  in  order  to  
push  the  search  for  solutions  to  the  extreme,  both  in  technological  and  acting  terms.  
 
In  the  course  of  the  presentations  we  discovered  that  the  handling  of  technology  as  
a   dramaturgical   element   produced   empathy   with   the   viewers,   who   recognized   the  
accidents  and  difficulties  involved  and  created  expectations  of  how  things  would  be  
solved.   During   rehearsals   we   thought   of   trying   out   different   teleconference  
platforms   in   order   to   achieve   a   more   stable   connection,   the   best   sound   and   the  
clearest  picture.  However,  the  Skype  option  guaranteed  a  less  theatrical  dimension,  
as  it  kept  viewers  in  touch  with  daily  life  and  an  easily  identified  platform.  In  working  
with  a  well-­‐known  tool  for  our  spectators,  we  were  able  to  explore  both  the  element  
of   reality   inherent   in   the   unpredictable   character   of   the   Internet,   and   the   fictional  
component   in   human   relations   mediated   by   virtual   communication.   We   got  
enthusiastic   feedback   from   some   spectators   who   said   they   had   seen   on   stage  
something  very  similar  to  their  own  emotional  experiences.  
   
Working   with   virtual   presence   as   an   element   of   the   mise   en   scène   meant   that   our  
production   would   reveal   the   existing   tensions   between   live   performance   scenes   and  
their   unfolding   on   the   screen.   Therefore,   in   order   to   offer   the   audience   as   intense  
experience   as   was   possible,   we   opted   for   maintaining   a   close   proximity   between  
viewers   and   performers;   and   to   exacerbate   the   sense   of   intimacy,   we   decided   to  
explore  nudity.  In  the  first  scene  in  Buenos  Aires,  as  the  spectators  enter  the  space,  
what  they  see  is  the  naked  actor  sleeping  in  his  hotel's  bed.  Similarly,  in  Florianopolis  
there  is  a  whole  scene  in  which  the  character  enters  the  shower  and  emerges  from  it  
naked  to  fetch  a  towel  she’s  forgotten  in  the  service  area,  and  starts  a  conversation  
with   Ulysses   without   getting   dressed,   and   even   masturbates   in   a   very   realistic  
virtual-­‐sex   session.   In   Germany,   at   the   time   she   was   actually   pregnant,   the   actress  
used   to   expose   her   belly   while   talking   about   her   marriage   crisis   with   Ulysses,   and  
later  she  presented  her  newborn  daughter  to  the  audience  as  another  character.  The  
feeling   of   being   in   the   space   of   the   Other   ––   and,   moreover,   of   having   this   Other  
exposed  ––  would  hopefully  induce  in  the  audience  a  sense  of  being  in  contact  with  
something  pertaining  to  the  realm  of  the  real  ––  or,  at  least,  a  need  to  question  the  
reality  of  the  material  presented  in  the  scene.  The  reality  effect  comes  mainly  from  
the  proximity  of  intimate  spaces.  
 
Combining  the  virtual  element  with  a  witness-­‐like  position  in  an  undeclared  situation  
was  part  of  a  game  to  seduce  the  spectator’s  glance.  The  project  built  a  playful  space  
in   which   viewers   experienced   intense   sensations   related   not   only   to   the  
development   of   the   narrative,   but   also   to   the   way   performers   interacted   with   the  
electronic   media   in   a   small   places.   In   this   regard,   at   each   location   viewers   found  
themselves  in  an  environment  that  bore  little  resemblance  to  the  traditional  sitting  
arrangement  away  from  the  scene.  Proximity  was  a  key  element  in  the  construction  
of   each   scene   and   the   selection   of   images.   We   insisted   on   intimacy,   especially   in   the  
exposure  of  the  actors  and  actresses’  bodies,  to  facilitate  a  tension  with  the  images  
conveyed  by  television  screens.  
 
I   shall   end   this   paper   reporting   that   the   Odiseo.com   attracted   both   audience   and  
press  partly  for  its  perceived  novelty,  even  though  novelty  was  not  what  we  pursued  
during  the  creation  process.  However,  this  condition  encouraged  us  to  deepen  our  
own   relationship   with   the   technical   materiality   of   the   performance,   which   in   turn  
affected  the  scene  development  process.  
 
 
References  
 
CHAUÍ,   Marilena.   "Espaço,   tempo   e   mundo   virtual   -­‐   A   contração   do   tempo   e   o  
espaço  do  espetáculo".  Conference  at  CPFL,  Campinas,  13  Oct.  2014  (unpublished).  
 
LEVY,  Pierre.  Cyber  Cultura.  (Translated  by  Carlos  Irineu  da  Costa).  São  Paulo:  Editora  
34,  2009.    
 
MERLEAU-­‐PONTY,   Maurice.   Fenomenologia   da   percepção   (C.   Moura,   Trad.).   São  
Paulo:  Martins  Fontes,  1994  (Originally  published  in  1945).