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Visting Varna in Bulgaria to the 16th International Puppetry Festival.

Lafontana Formas Animadas was invited to present the Prometeu shadow play at this festival. One of the oldest Eastern Europe puppetry festivals with 45 years old.

We built a new compact version of Prometeu which travels inside a flat case  developed to go around the world. It was our first challenge and it passed with distinguish, Marcelo Lafontana won the award for the best performance. We were very happy to present our show at Varna.

From the 1th Octobre to 7th October I have had the privilege to watch 11 great performances from puppetry companies from all over the world.

From string to direct manipulation, from the most classical puppetry to the most contemporary approaches the Varna festival presented a wide range of puppetry aesthetics  and puppetry methods for all audiences.

I would like to congratulate the organization for there professionalism handling with all cultural differences representing 10 different countries.

 

Here is a list of all the puppetry shows that I was able to see,  all of them contributed in some way to opening my eyes to this wonderful theatrical art.

La Mar de Marionetas – Madrid, Spain
SPEAK, YOU´RE NOT ALONE

Sofia Puppet Theatre – Sofia
TALE OF THE WANDERING KING

Batumi Puppet and Youth State Theatre – Batumi, Georgia
COLORED FOG’S SEASHORE

State Puppet Theatre – Varna
LITTLE WIZARDS

Harpe en Perigord & La Mar de marionetas – French-Spanish co-production
SHAKESPEARE’S DAUGHTER TELLS HER MIDSUMMER NIGHT’S DREAM

Puppet Theatre Haet-Sal – Suwon, Korea
HEUNG-BU JEON

Baruti Teatro – Athens, Greece
MOMENTOS

Sofia Puppet Theatre – Sofia
THE TEMPEST

State Puppet Theatre – Plovdiv
THE LONG JOURNEY OF THE LITTLE CROCODILE

State Puppet Theatre – Varna
SILENT LEGENDS

The Key Theatre – Tel Aviv, Israel
WHEN ALL WAS GREEN

 

Jim Henson Red Book

A sort of a diary of Jim Henson activity. It is an important Online reference.

 

Prometeu – Real-time Illusion

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Luís Leite and Marcelo Lafontane received an honorable mention at Avanca Festival 2014.

International Conference on Film – Art, Technology and Communication.

The prize Eng. Fernando Gonçalves Lavrador was ax-aequo to the Finn researcher Jouko Aaltonen from Aalto University and to the Brazilian Carlos Júnior Rosa from São Paulo University.

There were two honorable mentions, one to the portuguese researchers Luís Leite and Marcelo Lafontane and the other to the Danish Michael Morgan from the European Film College.

The internationally jury for this prize was composed by academic

International academic Juri commission : Francisco Garcia (Spain), Wai Luk Lo (Hong Kong), Yen-Jung Chang (Taiwan) and by the portuguese Anabela Oliveira, José Ribeiro, Rosa Oliveira, Pedro Bessa and José Marta.

 

TheToyWorlds was evaluated at a junior school as part of the virtual marionette research.

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Picture 1 – Childrens interacting with the game at the classroom.

Introduction

We challenged children under the ages of 5 and 6 to grab a virtual puppet and play with it.

The main goal was to better understand how children under these ages who never had contact with digital interfaces based on body motion respond to the interaction. The ToyWorlds is a two player game where the player controls the virtual marionette with their hands. The left hand manipulates the body of the puppet and the head follows the right hand motion. The players grab the puppet with the left hand and move the target where the puppet is looking with the right hand. In this way we challenge the participants to control their own body as if it was a marionette controller. This experience is somehow near to how puppeteers manipulate with their puppets, using rods, strings, or other kind of controller.

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Picture 2 – Simulation of the ToyWorlds puppet manipulation using the two hands

In puppetry the head of the puppet is essencial to transmit emotions and to help the audience to understand the direction of the action or motion. By fowling the players right hand with their heads, the virtual puppets call the attention of the audience and a contribution to a more expressive animation. Although this is a very simple way to control virtual puppets by just using our two hands it is a very challenging interaction because our hands are not visually represented in the scene. In this way, we must calculate the position of our hands by the position of the puppet´s body and head target. And because the result does not mirror our body exact motion, we need the capacity to abstract from the real motion to the represented motion. This indirect manipulation creates a distance between the player and the puppet witch we want to understand.  This is one important  aspect we want to explore, study and measure.

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picture 3 – The right hand makes the puppet to rotate. The puppets head follows the players right hand forcing the body to rotate.

By assigning two different tasks to our two hands we challenge the players to take control of their bodies, an abstraction of the body which may be very difficult to childrens under 6 years old.

The virtual marionettes are rag-doll puppets, dynamically affected by gravity and collisions, the result is a very natural and rich animation.

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picture 4 – screenshot of the game

 From inside out, the game narrative!

In Marta´s bedroom, there are strange things happening when she goes to sleep. She dreams with paper boxes that fill her room creating a big mess. Because she is a little lazy to put her bedroom in order, she created two little imaginary friends that help her to clean up. Joaquin wears a green shirt and his the uncle of António which wears a orange shirt, both are paper figures and very hard workers. They can only grab the boxes when they change their colors, Joaquim grabs the green boxes and António grabs the orange boxes. When the boxes change to the blue color, both puppets can pick them by just looking at them using their respective looking target square. Green and orange boxes are grabbed with the bodies of the puppets using the players left hand and the blue boxes are picked up with the looking target using the players right hand. After grabbing the boxes the player receives a score of one point to the green or orange boxes and ten points to the  blue boxes. The boxes disappear if grabbed or return to their natural color after a certain time.

The players give life to this two little figures and have one minute and an half to grab the boxes. They start by making the calibration pose and the first to get their pose calibrated takes control of the first player witch is Joaquim.

This game evaluates body motor control, an important aspect for the puppetry manipulation.

In the table above we show the game results of this experiment. Two of the 22 children were not able to grab any color box because they felt stressed by the competition.

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peregrinacao

From the 10th till the 23th of  May at Mosteiro São Bento da Vitória, Porto.

Coproduction Lafontana – Animated Forms / Teatro Nacional São João (TNSJ) from the original text of Fernão Mendes Pinto, with the interpretation of Marcelo Lafontana.

Inspired by the adventures of Fernão Mendes Pinto, a portuguese explorer, reported
from the book “Peregrinação” , published in 1614, Marcelo Lafontana makes a journey through strange stories that are presented in a miniature world.

Through the intersection of puppetry, in particular, the expressiveness of paper theater with the cinematic language, this small world becomes a large space of illusion in which the narrative arises.

The stage, is transformed into a film studio, where scenarios and characters drawn and cut from cardboard are handle in front of video cameras. The images are captured by a multimedia architecture providing image processing, image mixing, sound effects, chroma key, performance animation, and all happens in real-time. The final result is projected on a screen, like a sail of a boat that opens to the charms of a journey through the imagination.
from
Fernão Mendes Pinto

staging e interpretation
Marcelo Lafontana

dramaturgy
José Coutinhas

scenography
Sílvia Fagundes

design of the characters and scenarios
Luís Félix, Rebeca das Neves

photography
JPedro Martins

music
Eduardo Patriarca

Multimedia (architecture and contents)
Luís Grifu

Lighting design
Pedro Cardoso

staging assistance
Rita Nova

I´ve implemented some of the digital puppetry methods in this project. Methods and tools are described in another post in this blog.

 

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Street Outdoor

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FestivalESMAE14

Been invited to give a MasterClass  April 7th, at Festival ESMAE 2014.

ESMAE-IPP – Escola Superior de Música, Artes e Espectáculo do Instituto Politécnico do Porto | 4 – 16 of April 2014

In this MasterClass, i have presented my research on performance animation with digital puppetry methods and an overview on HCI. I also made some live demonstrations using novel digital interfaces to control animation, sound and music.

full program (PDF 700k) FestivalEsmae2014a

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Music & Emotions at CLIP – Porto International School by INAUTISMO

An event to raise awareness of autism and the research that is being made in this field. An opportunity to present activities and projects for therapy or for stimulating people with spectrum disorder.

“Paralelamente aos workshops, contamos com convidados especiais que vieram alegrar ainda mais este evento, os palhaços do O””pital com as suas brincadeiras, a deficiwood com artigos em madeira feitos à mão e a universidade do porto com o projecto “Virtual-Marionette”, um espaço de exploração da animação performativa (tempo real), recorrendo a interfaces digitais recreando os tradicionais controladores de marionetas.” Reference

ToyWorlds is an artistic installation, a body motion game for two players that stimulates the use of our body in particular our hands to manipulate puppets like marionettes. The player must control a virtual marionette and try to catch boxes with the puppets body or by looking at the boxes.

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Structure of the puppet´s booth

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A preview of the game.

Exploring Leapmotion interface using hand / fingers to control a puppet´s head.

Very simple example of digital puppetry build in Unity.

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The Virtual Marionette installation “BePuppit” in a puppetry exhibition at Teatro Municipal de Vila do Conde.
We invite the audience to participate in this play which recreates a traditional puppet booth.

“PUPPIT” is an interactive experience that explores different ways to control and animate virtual puppets in live environments using digital puppetry methods as a storytelling tool.
With “Body-PUPPIT” the users body is the puppet controller, producing performance animation with body motion. We challenge the participants to explore their bodies to give life to puppets that are different from human morphology as if they were using hand shadows to create imaginative figures.
By playing with puppets in a dramatic way the user can create the illusion of life and build a narrative.

PUPPIT consists in a several prototypes that are the work-in-progress of a PhD research called “Virtual Marionette – Interaction Model for Digital Puppetry”. The goal of the prototypes is to explore and evaluate different rigging, mapping and interaction methods, and to develop tools for artists and non-expert artists that can be used in as collaborative environment for storytelling – making live narratives.

The exhibition is open every day since the 14th till 22th December except mondays.

www.virtualmarionette.grifu.com
December 2013

Results from the explorative work made at “Espaço do Tempo” in Montemor-o-Novo in December 2013.

The manipulation of sound and visual elements using the body as interface like a marionette controller.
We explore the potential of the body motion in three main areas:
– Body expression to model sound and visual
– Body motion to trigger sounds
– Body position in space to model and trigger sounds

We define a sensitive space where the performer could move and interact with the audio-visual elements.

As we can verify in the video the way the performer interacts is somehow resembled  to the way a puppeteer manipulates marionettes.

As future work we will explore deeply the perceptive motion of sound and visual. Creating a relation between diegetic and non-diegetic sounds and similar approach to the performance animation.

 

Video performance by: Amândio Anastácio
Multimedia: Grifu

Dec.2013