Spectators with game controllers, online play karaoke and classic dramas in "Second Life": The theater discovered his love of virtual worlds and looking for ways to approach the medium of video game. The magazine GEE presents five projects in which game takes on a drama. "Five years ago, Sigurd and Gunnar had a Viking in Iceland," says the old man as he looks out to sea.
The audience in the darkened hall of the painter Hamburg Schauspielhaus listen spellbound to his words. With rough, broken voice, he tells how the men have robbed after a bout his two daughters. Even in old age can be seen at Oernulf of the fjords, what a proud fighter, he must once have been.
And how much of the robbery of his daughters has violated not only his pride. And yet the face seems strangely unmoved of the Viking and artificial, as if someone had stuck an angular mask over his head. Then: frantic clicking of keyboards. In the clear sky above Iceland appear dozens of moons.
During the Viking tells of his pain, he disappears in a cloud of dancing light beams. And suddenly starts to stutter horribly. That evening, suffering Oernulf, a character in Henrik Ibsen's drama "The Vikings at Helgeland," not only from the loss of his daughters, but mainly one: His network connection is too slow.
Neither Oernulf still Sigurd and Gunnar nor any other figure is around them that is made of flesh and blood: they are avatars from the world of "Second Life", controlled by actors in a new production of Ibsen substance, with the director Roger Vontobel in the theater carry out three years ago an experiment and create more than one wanted to play - a "Mixed World Production." The human actors sit on stage with headsets at desks and are projected on a screen protagonists of the drama is not with her own body, but control it with mouse and keyboard through the virtual space.
Ibsen in "Second Life" Vontobel digital Vikings are just one example of how young theater artists endeavor to bring together game and play: the drama for which they are experts, and the computer game in which they grew up once. From fighting game with real fighters on Real-Life Adventures, to network-based theater karaoke for your home's living room has in recent years, a variety of concepts and experiments designed to bridge the gap between two cultures trying to play.
A bold project that is for theater people. For the hybrid projects, they often bring not only in conflict with the doctrines of conservative colleagues, such as theater has to work - their projects are conceptually so far outside of conventional concepts that are often difficult marketable.
Of course, theater and games are both games - but in very different ways. When one follows the spectators professional actors, in the other it acts itself that is difficult both at the same time on the stage to get. And so many contented game theater projects in recent past such as Roger Vontobel's "The Vikings at Helgeland" for the time to insert elements into traditional computer game productions.
An adventure to traverse, Karaoke with Kinect control and video game projected on the stage - projects of actors playing at a glance. 
The audience in the darkened hall of the painter Hamburg Schauspielhaus listen spellbound to his words. With rough, broken voice, he tells how the men have robbed after a bout his two daughters. Even in old age can be seen at Oernulf of the fjords, what a proud fighter, he must once have been.
And how much of the robbery of his daughters has violated not only his pride. And yet the face seems strangely unmoved of the Viking and artificial, as if someone had stuck an angular mask over his head. Then: frantic clicking of keyboards. In the clear sky above Iceland appear dozens of moons.
During the Viking tells of his pain, he disappears in a cloud of dancing light beams. And suddenly starts to stutter horribly. That evening, suffering Oernulf, a character in Henrik Ibsen's drama "The Vikings at Helgeland," not only from the loss of his daughters, but mainly one: His network connection is too slow.
Neither Oernulf still Sigurd and Gunnar nor any other figure is around them that is made of flesh and blood: they are avatars from the world of "Second Life", controlled by actors in a new production of Ibsen substance, with the director Roger Vontobel in the theater carry out three years ago an experiment and create more than one wanted to play - a "Mixed World Production." The human actors sit on stage with headsets at desks and are projected on a screen protagonists of the drama is not with her own body, but control it with mouse and keyboard through the virtual space.
Ibsen in "Second Life" Vontobel digital Vikings are just one example of how young theater artists endeavor to bring together game and play: the drama for which they are experts, and the computer game in which they grew up once. From fighting game with real fighters on Real-Life Adventures, to network-based theater karaoke for your home's living room has in recent years, a variety of concepts and experiments designed to bridge the gap between two cultures trying to play.
A bold project that is for theater people. For the hybrid projects, they often bring not only in conflict with the doctrines of conservative colleagues, such as theater has to work - their projects are conceptually so far outside of conventional concepts that are often difficult marketable.
Of course, theater and games are both games - but in very different ways. When one follows the spectators professional actors, in the other it acts itself that is difficult both at the same time on the stage to get. And so many contented game theater projects in recent past such as Roger Vontobel's "The Vikings at Helgeland" for the time to insert elements into traditional computer game productions.
An adventure to traverse, Karaoke with Kinect control and video game projected on the stage - projects of actors playing at a glance.
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