Introduction

At the beginning of the project, the questions were strongly tied to the production phase, especially in relation to the specific needs of the technology involved.

How does the work flow integrate with the technology? What is the sequence of steps in production? What drives the timing of each phase? What is the timeline for creating the VR aspect, considering we are using real footage rather than animation? From a budgeting perspective, what should we focus on? What are the essentials that we cannot compromise on, and where do we have more flexibility? How should the performance be organized for multiple showings, and what resources are needed? How will the connection with a theatre audience evolve when using VR?

The goal was to harness the potential of immersive technology to bring the audience closer to the enchantment of wrist puppet theatre—a small-scale theatre form for limited audiences. This is a rare and almost endangered art form, with fewer practitioners worldwide, yet it has the capacity to create a profound sense of magic.

Inspired in part by the Monoliths creation by Pilot Theatre, we chose to use virtual reality to transport the audience into the metaphysical worlds of Jlenia Biffi’s miniature theatres.

We hoped to explore how virtual reality could transcend the traditional limitations of theatrical space, allowing the audience to not just observe but become part of the performance. Our goal was to use VR to immerse the audience fully inside the miniature world of the puppet theatre, where they could interact with the unfolding action and influence it. This technology offers the unique potential to place viewers in a space outside of time, allowing them to experience the metaphysical and dreamlike environments that are central to the imagery of Remedios Varo. We wanted to explore how VR could evoke a sense of wonder, leading the audience into an alchemical dimension where they become the driving force of the performance.

Creative Process

How did the collaborators work together on this project?

The collaboration on this project unfolded on two distinct levels. The more traditionally theatrical phase, involving the recording of the puppet performance, was conducted in person and followed conventional theatrical methods. In contrast, the subsequent stages of the work took place predominantly remotely—a highly unusual, if not impossible, approach for typical theatrical productions. Nevertheless, contact remained constant throughout. Regular phone calls and Zoom meetings with the sound designer and developers of the virtual components ensured continuous progress, fostering mutual influence and the integration of each contributor's input. Similarly, collaboration with the project partners alternated between remote exchanges and in-person interactions, primarily during shared meetings.

What forms of trial-and-error occurred?

At one point, due to a simple error in the rendering process, the second puppet theatre—which was supposed to be the same size as the first—appeared on screen as a giant structure. The effect was absolutely breathtaking! We fell in love with it, and it reminded us of some of the original ideas behind the project that had been somewhat sidelined during development. Embracing this unexpected turn of events forced us to rethink certain aspects, especially in terms of maintaining internal coherence throughout the experience. Ultimately, while the effects of the error were toned down, wechose to retain the essence of what that 'mistake' brought to the performance.

Did you use existing software and applications?

We used Unity. The file is at the end an APK to be installed on the Meta Quest 3 headsets used for the experience. For the sound, Ableton Live and Protools.

The coding is not open source.

Did any of your questions or goals change?

We would rather say that they have increased.

What were the key milestones?

The creation of the script, the 3D shooting, the development of the virtual reality part.

Reflections

The final outcome of the project is a virtual reality video presented to the public within a real-life set. This set is recreated each time based on the unique characteristics of the hosting venue, engaging the creativity of the local setting. As for the initial expectations, they were overall fully met – in some aspects even exceeded, while in others certain compromises had to be made.

In what ways was the production a success?

It was a success in having led us to explore, with a result we are happy with, a new expressive possibility. It has alsoallowed us to create a new way of enjoying an ancient and increasingly rare technique such as that of wrist puppets.

What elements of the final production would you change?

Some details that production times did not allow us to elaborate beyond a certain level.

If other people were to take a similar approach, what advice would you give?

To try and plan all the details in advance for the part that needs to be created in virtual reality, and to keep a constant dialogue on that with the 3d developers.