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Helene, Sandy, there's so much to think about in your posts. To keep it short, I'd like to respond just to this:

Some of my reactions to a 2nd viewing were not expected. I actually found the many camera angles, plethora of closes ups, and camera motion, less bothersome the 2nd time around. I concluded to myself that the reason is that with a 2nd viewing I came to better understand what the video director was trying to do. During this 2nd viewing each of the camera choices made sense to me.

Isn't it amazing the way exposure to something, and growing understanding, often make it more acceptible! :thumbsup::D

We seem to be in a period of great transition: stage productions that aim at stimulating not only live audiences in the theater but, simulteneously, future (or immediate) video audiences as well. The technology is developing so fast. Just compare Lepage's use of technology in Faust with the much-touted use of electronc images in Wayne McGregor's Infra at the Royal. Infra looks sadly out-of-date, just a few months after its premiere.

Thanks to gocoyote for the link to the BBC transmission of Infra. Here's Part I of III.

http://www.youtube.com/watch?v=2Sod77_kwTo

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Fully agree bart.

Somehow I've not truly considered the impact of computer technology on opera and ballet until now. Of course, I did realize that computers are all over the mechanics of production (such as sub-title timing, or lights), but somehow I hadn't really opened up my mind to the possibilities on design itself until this production of Faust. I did get a glimpse when I saw Seattle Opera's Parsifal a few years ago, but that was using video as a sort of "substitute" for traditional design elements (wonderfully done tho). Faust opened up whole new worlds I hadn't even imagined.

That it might take us all a while to adjust ain't too surprising :D:wink::blushing:

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