The educational play “We Are Going to Lviv” is back for a single performance tonight on the Meta region of the OpenSim Community Conference grid.
The trip was originally part of the Virtual Worlds Best Practices in Education 2022 conference and is an artistic journey that spans the past and future of Ukraine with a focus on Lviv, the main city in western Ukraine.
The hypergrid address is cc.opensimulator.org:8002:Meta and the event begins at 10 a.m. Pacific time this morning, April 12.
The instructions for how to hypergrid are here.
The visitors will pass various stations, all of them giving a political statements related to Lviv, also known under its historical name Lemberg.
“‘We Are Going to Lviv’ starts with the stone 10-tons of suffering by Alexander Schwarz, the last survivor of the Lviv/Lemberg World War II concentration camp,” said Reiner Schneeberger, also known as Art Blue in-world. “Then the audience experiences a transformation of the stone to 25 smaller one representing the causalities of the first bombing of Lviv in the Ukrainian war. ‘Art is Mainly a Political Act’ is the next station and refers to Immersivia at Santorini Biennale 2016 where Greece fell into a financial crisis with a horrible impact on the environment and public suffering. After these quite devastating elements the trip heads to outer space and the asteroid 1704 Ukraina, then the Beer Museum at Lviv, and finally, at the last station, we meet the president of Ukraine and his cabinet.”
The primary goal of this trip is to spread the knowledge of creating immersive theatrical plays, Schneeberger told Hypergrid Business.
The first presentation of the Uplift was enthusiastically received so the VWBPE asked for an encore, he added.
This time the presentation will include a chat dialogue via Easy Speak so people with impaired hearing can fully participate in the experience. To support the understanding upfront a short video was created showing the key elements of the concept of an Uplift.
“Art Blue took our avatars up and into a number of installations all connected to the Ukrainian town Lvivi –Leopoli in Italian — created by a number of artists,” wrote Lucia Bartolotti after she attended the first show on March 22. “It was weird to be taken along and listen to the description of some symbols of the cultural heritage of Lviv, hearing at the same time the whistles and thuds of bombs falling in the background. And I am painfully aware that I can lightly use the word weird while somebody else is experiencing the real thing in their body and flesh, alas.”
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