Altair’s Operating Mechanics.
What follows has, for me, become self-evident – but the self-evident deserves to be enlightened most of the time.
It’s about the positioning of Altair’s management with regard to the programming of the theatre, enhanced games, virtual reality content, events.
The rules of operation of a theatre are for the moment quite simple.
One year, two years, three years before the stage programming, the theatre programmers go to see shows in other theatres, go to festivals, are invited to premieres: they make their choice in what exists – or will exist.
Sometimes, when the theatre has enough financial resources, directors ask for financial participation in the production of a new show. In France, this only allows for performances in the first year that the show is touring – no financial return is expected. But there is the prestige of having helped. Wow ? No. I’m not impressed : the money is lost and well lost –
Some “great” institutions have the privilege of having a troupe of artists at home and produce their own shows: here comes the MET, the Royal Ballet, the Bolshoï etc…
And then that’s it.
That’s it and it becomes totally catastrophic because in all the theatres of the world, we see the same thing and the programmers tinker with what is offered.
Basically, theatres suffer and do not act – they are passive, not active.
It is exactly this timeless rule that Altair will never follow.
Kratos and Damis smash Zeus – Altair smashes Thespis – so sorry guy, no offense, nothing personal – it’s just business.
Altair will first invent a program : one per year/ per theatre season. And next :
go and order it
go produce it
for all or most of its programming.
and will retain rights to the production.
Without this basis, nothing works – neither the original idea nor the financial returns.
As a result, it will need a programming team that will have to move its brain a bit, in addition to moving its body to go see existing productions : Altair is going to need treasure hunters, you know those old things lost deep in the memories – Altair is going to need authors, real creators (not the ones who do the same thing as the others for the 300,000 times, all thinking they’re modern and great and so horrible and surprising – those are just horribly boring): Because, first of all, Altair is a production company.
The cinema has been done for a century – we need something else.
We need to understand that the audience grew up playing – cheating – ‘modding’ – ‘meming’ – giving each other tips, advice, cheating codes, videos.
Sitting in one’s chair, in the theatre as well as in the cinema, will not be an option for long. We need something else. It’s an emergency .
Altair produces “something else”: and here it won’t be a matter of doing its average stingy – its “I don’t know“, no: the goal of the programming team is to have on stage and on Virtual Reality entertainment monsters that we haven’t seen for centuries – or that we haven’t seen yet.
All the technical means are there.
All the essential content is already there – Altair will have plenty of time to seduce creators of absolute novelties.
No, Altair is not a classical theatre – what is the point of opening a classical theatre? Classical theatres are around every corner – at least the mummy of Tutankhamen had a gold mask too badass – & our theatres die without moving anyone, and – I’m sorry, I don’t care.
So yes, the basis is to break that suffocating rule: programming random stuff – hoping for a “good year” of creation and a lot of mental agility in the programming team to fix it all.
Featured Image : from the amazing (yes) website : Broken Lock –they are creators of jewelry, small objects, often it’s nice and fun –
Others : from Assassin’s Creed Odyssey – Showtime Quest. Ubisoft