DIGITAL OPERA RESEARCH LABORATORY

Dmitry Otyakovsky

https://otyakovsky.com/ru

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Cultural and educational program designed to make opera popular in the online environment, find the new forms of musical theater and analyze the situation that has arisen in the cultural sphere due to COVID restrictions.

Laboratory is designed for the experience exchange between artists and directors working online, as well as for the creation of new cultural projects in the genre of digital theater.
Apart from the artistic tasks, the laboratory will solve the social problem of using digital technologies to ensure participation in cultural life and access to cultural values, regardless of the place of residence.
This will include people with disabilities who can not visit musical theaters located at a long distance from their place of residence.
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I AM STILL INTERESTED IN FURTHER DEVELOPING OF THE DIGITAL OPERA, AS I SEE GREAT POTENTIAL IN IT

DMITRY OTYAKOVSKY

Director, Curator of the Digital Opera Research Laboratory

How did you come up with this idea?

In July 2021, I was invited to participate in theater camping by the Tavrida Art Cluster as an expert in the field of digital theater. I decided to marshal the experience gained from online projects (the Feast In a Time of Plague screenlife-opera, the Miserly Knight let's play opera, the Fall From Grace AR-opera, the Silent City augmented reality media tour, Glossary 2.0 opera, etc.), and developed a four-day educational workshop for young theater workers.

What was the most difficult thing in your project?

This is my first experience in creating an educational program and in the process of preparing the materials I had to face a number of technical issues (some of which were solved just a few hours before the speech), but judging by the reviews, the experience turned out to be successful, since I decided not to go into theory but to share my personal experience only.

Why do we need projects like yours? What is their value to people?

In 2020, there was a huge interest in the genre of digital theater, but this interest was rather due to the necessity: artists obliged to keep up quarantine were looking for the opportunity to create new ways of communicating with the audience. As the COVID restrictions were lifted, interest in online performances began to fade away as theaters started to open. But I am still interested in further developing of digital opera, as I see great potential in it.