互联虚拟空间与剧场：网络时代剧场舞台的实践研究
Interconnected virtual space and Theater. Practice as research on theater stage in the era of the network
AI总结：
本研究基于多学科合作，通过低成本动作捕捉系统连接物理演员与虚拟化身，探讨网络时代剧场舞台的实践，并分析其对导演、演员与数字艺术家合作方式的深刻影响。
摘要：
自2014年以来，我们一直基于戏剧舞台专家与虚拟现实、数字艺术和视频游戏领域研究者之间的多学科合作开展实验。该团队专注于真实物理演员（演员-表演者）与虚拟数字演员（化身）之间存在的相似性与差异性。基于这种多学科方法，实验性的研究-创作项目应运而生，这些项目依赖于一位物理演员与由另一位物理演员通过低成本动作捕捉系统中介控制的化身图像进行互动。在论文的第一部分，我们将介绍我们演示所依据的舞台设计，以及我们相对于先前工作所做的修改。接下来，在第二部分，我们将详细讨论使用化身增强玩家游戏的影响，并与戏剧舞台的舞台局限性进行比较。在论文的第三部分，我们将讨论项目的软件相关方面，重点关注我们设计的不同组件之间的交互，并描述使我们能够通过各种捕捉设备利用玩家实时运动的算法。最后，我们将详细考察我们连接物理演员与化身的实验系统如何深刻改变导演、演员和数字艺术家之间在演员/化身指导方面的合作性质。
英文摘要：
Since 2014, we have been conducting experiments based on a multidisciplinary collaboration between specialists in theatrical staging and researchers in virtual reality, digital art, and video games. This team focused its work on the similarities and differencesthat exist between real physical actors (actor-performers) and virtual digital actors (avatars). From this multidisciplinary approach, experimental research-creation projects have emerged and rely on a physical actor playing with the image of an avatar, controlled by another physical actor via the intermediary of a low-cost motion-capture system. In the first part of the paper, we will introduce the scenographic design on which our presentation is based, and the modifications we have made in relation to our previous work. Next, in the second section, we will discuss in detail the impact of augmenting the player's game using an avatar, compared to the scenic limitations of the theatrical stage. In part three of the paper, we will discuss the software-related aspects of the project, focusing on exchanges between the different components of our design and describing the algorithms enabling us to utilize the real-time movement of a player via various capture devices. To conclude, we will examine in detail how our experimental system linking physical actors and avatars profoundly alters the nature of collaboration between directors, actors, and digital artists in terms of actor/avatar direction.
机构、总结、中文摘要均由AI分析而来，可能存在错误，请以论文正文为准。
