Have not you ever dreamed, as spectator of theater, to invite you on boards and to share the reality of the comedians, or to baste you in boxes to interfere in one to the set so mysterious as stimulating? Doubtless.
And when Olivier Py evokes, about his room(part,play) The Parisians, “a fresco which tells our time(weather) (…) A political practical joke(stuffing) which meets several worlds”, thus by evoking in half-words these famous so contemporary principles of transversalité, of real time interaction, doubtless he(it) makes even more relevant the cinematic ” immersive ” proposal in 360 ° into which plunges us At the heart of the Chaos.
Realized by Richard Copans from a chapter of the novel The Parisians of Olivier Py, At the heart of the Chaos is not only an Intrusive approach as closely as possible to the actors or of the set, it is also a technological experiment testifying of the real esthetic revolution carried by the digital technology and the new possibilities of captation of shows in 360°.
By allowing the camera to rise on stage to accompany better the action – in this particular case two cameras with a round objective filming in 360° – it offers to the spectator a new multiplicity of points of observation integrating all the viewing angles and all the directions into immediate.
The spectator can go from then on as he pleases in the image, since his computer mouse or by means of a helmet of virtual reality.