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Cher at Ceasar's, Las Vegas 2008 show. Stage design by Jeremy Railton and Entertainment Design Corporation.
Stage design, costume, interactive media design, and print design for the Steinfuß Theatre. The play staged the critical text “Geschichte meiner Einschätzung am Anfang des Dritten Jahrtausends” by German musician and poet PeterLicht. The concept is about three different boxes, through which the audience moves from scenery to scenery. We set up a pool made of styrodur, a cardboard structure, and a site fence with woven paper strips. Then there was a video projection and a remote controlled moon.
With Aline Otte, Yakub Yayla, Bianca Barabas, Duy An Tran, and others.
Director: Adelheid Schulz
17.-24.5. 2012, Stuttgart
photo by ©Paul Wright
The Crystal Palace Park Concert Platform, located in Crystal Palace, London, is an outdoor stage, designed by Ian Ritchie Architects. The building was nominated for the RIBA's Stirling Prize award in 1998. The project received the 'Excellence in Design' award from the American Institute of Architects. The platform is located in Crystal Palace Park, in the London Borough of Bromley. It is known locally as the "rusty laptop".
Its outer surface is made entirely of deep red oxidiesed Corten A steel above an oak stage. The first concert performance took place at the Concert Platform in August 1997.
The Crystal Palace Concert Bowl previously stood on the same site and hosted the Crystal Palace Garden Parties concerts between 1971 and 1980. The first of the Garden Parties took place in May 1971 with Rod Stewart and The Faces plus Pink Floyd. In 1980 Bob Marley and the Wailers played there.
The Rocky Horror Show
Brian Thomson (Australia)
& Sue Blane (UK)
Set & Costume Design
The Rocky Horror Show began its life at the Upstairs Theatre at the Royal Court Theatre in London in 1973. Brian Thomson and Jim Sharman had already worked together on a number of productions in Australia and
London, and neither of them could have anticipated the worldwide phenomenon that Rocky would become. Their work together precipitated an entirely new approach to design in the Australian theatre. This was one of Sue Blane’s first professional productions as a solo designer, and undoubtedly her big break. Designing for this production led her to design the US version,
and later the costumes for the movie as well as the sequel. So intrinsic is her connection to the design of the show that her name is now part of the audience participation script for the production. She has since gone on to design for opera, musical, theatre and
dance, returning regularly to design any new productions of Rocky Horror in the UK.
The work, and its outrageous costumes, has inspired many interpretations, recreations, and homages, not only in theatre, but also in fashion, make-up, and music. The success of the show and its popular design confirmed the success of the Royal Court’s black box studio, the Theatre Upstairs, which had opened three
years earlier.
The production has become part of popular culture, and the costume designs have played a big part in that, often recreated down to tiny details for audience participation nights and fancy dress or Rocky Horror-themed parties. Blane has received both an MBE and the Royal Designer for Industry award for services to
theatre design.
Images posted with permission by editors
Beaurepaire Building first stage designed 1955 as the first major work by architects Egglestone McDonald and Secomb (Roderick McDonald partner in charge) who were to virtually rebuild the university over the next 30 years. Gift of Sir Frank Beaurepaire, Olympic swimmer, and businessman. Italian glass mosaic spandrel tiles designed by Leonard French.
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ROSMAN, NC (January 19, 2015): On Monday night, January 19, Rosman High School celebrated its 50th annual Miss Bengal pageant. There couldn't be a better night for celebrating passionate students and future leaders in our schools.
Martin Luther King, Jr. said, “The function of education is to teach one to think intensively and to think critically. Intelligence plus character — that is the goal of true education.”
Rosman High School offers numerous programs targeting character education, both as part the curriculum and through clubs and service opportunities. The 50-year history of the Miss Bengal Pageant is one way Rosman High has reinforced the importance of character. The pageant has long taken place on the Monday night of semester break (with a Saturday snow date) for a variety of reasons.
Participants are evaluated on their talent, poise, future plans, and comportment: many of the things colleges and employers look for in our graduates, and their future students or employees.
This year's participants were:
Abby Buchanan ('18)
Blakely Owen ('16)
Madison Gingrich ('15)
Emma Henderson ('18)
Alexandria Galloway ('16)
Olivia Bishop ('16)
Robin Crowe ('17)
Jacey Voris ('15)
Claire Harris ('15)
Cassidy Knye ('16)
Madison Allen ('18)
Megan Brightwell ('16)
Shaylon Combs ('16)
Carli Batson ('15)
Hayleigh Mann ('15)
These highly-committed students, and many attendees, keep very busy schedules with school and extracurriculars, so the night is kept free for this special event, and tickets sell out weeks in advance.
The opening introduction and crowning were performed by Miss Bengal 2014, senior Hannah Reese. Former “Bengal” winners Loretta Sanders, Emily Reese Jones, Missy West, and Ashley Harris all emceed portions of the evening, from interviews and school dress, to the talent and evening gown competitions. Past winners Ashleigh Jamerson (Bengal ’12) and Hannah Reese performed talent at the intermissions as well.
RHS principal Donivan Edwards noted that, with a teacher workday scheduled before and after, students and staff had the run of the stage and school, setting up the elaborate stage design. Tammy Hall, teacher and pageant organizer, further explained how “Bengal” fits into Rosman High’s vision for character:
“I truly believe that Bengal is a very positive activity for the young women at Rosman High School. Bengal promotes community service, it builds character and confidence, and it allows students to reflect on who they are and what is important to them. The girls get to form relationships with people that they may not normally get to spend time with and they get to share their talent with everyone. Additionally, it provides a scholarship to the winner if they further their education after high school.
“I believe that Bengal does exactly what Mr. King was talking about in the quote mentioned above.”
The panel of judges included Dustin Cox, Jeremy Gibbs, Melody Gorman, Judy Edwards, and Tammy Reeves Duffy.
On the same night, RHS students also led the way during MLK activities centered around Brevard College. Rosman Middle and High chorus teacher Grayson Barton shared that Anna Carrillo (RHS ’16) and Casey Mesaeh (RHS ’15) both sang at Brevard College's MLK Celebration on Monday, January 19, at the Porter Center: “It was a big performance for them, and they both did an outstanding job!”
© 2015, Transylvania County Schools. All rights reserved.
Jocelyn Herbert (right) working on the stage design for a production of Inadmissible Evidence, directed by Lindsay Anderson (Warsaw, Poland, 1966).
The proscenium design for the stage musical "Bells Are Ringing"....one of the 60 + productions I designed as the resident Lighting and Set Designer of Diamond Head Theatre for more than 8 years
Cher at Ceasar's, Las Vegas 2008 show. Stage design by Jeremy Railton and Entertainment Design Corporation.
The Pfalz Theater Kaiserslautern belongs to the authority of the regional association of the Palatinate and is the only three-genre theater of the Palatinate based in the city of Kaiserslautern.
History
The first theater in Kaiserslautern in 1862 was financed by Andreas Müller, called Spittelmüller, the owner of the mill Spittelmühle in Kaiserslautern. This one also supported the first seasons of this theater. The building stood in today's Karl-Marx street (then Theater street) at the corner to Gas street. It was some years later destroyed by fire and rebuilt by Andreas Müller again. In 1874, the theater was converted into a public limited company. The shares were taken over in 1897 by the City of Kaiserslautern, so it was a city theater ever since. The theater grew up in the first decades of the 20th century through cooperation with other Palatine stages, particularly with Pirmasens and Zweibrücken, into a Association of Cities Opera in the Palatinate. Even in the early war years of the Second World War, the theater operation was maintained until the bombing of 14 August 1944 the building destroyed completely. Yet in October 1945, the theater operation was continued in the premises of the "Capitol", a cinema at Fackelrondell (torch roundabout). This was temporary. By formation of a new supporting organisation and the expansion into a city theater with solemn inauguration in September 1950 it became a permanent establishment. 1968, the district association Palatinate became the supporter of the Palatinate Theatre. The city of Kaiserslautern grants since then annually institutional support and takes care of the maintenance of the building (without building maintenance for stage technical equipment). As a supporter the district association Palatinate assumes all expenses relating to the operation of the Palatinate Theatre as well as the building maintenance for the technical stage facilities. The proceeds from admissions etc. flow in favor of the supporter in the budget of the district association Palatinate. The state of Rhineland-Palatinate grants annually an institutional funding.
Rotunda of Pfalztheater
Yet in 1976, the demand for a new building was discussed in the City Council because the old cinema building was unsuitable for larger projects and still was set up only provisionally. But it was not until 1995, when the new building was completed at Willy-Brandt square near the Fruit hall. Financed was the construction with funds from the Palatinate Theatre Legal Entity District Association Palatinate, the Land (state) Rheinland-Pfalz and the City of Kaiserslautern.
On September 30, 1995, with the first performances eventually the threefold stage (musical theater, drama and ballet) was inaugurated by the then director Pavel Fieber. The Chairman of the German Cultural Council, August Everding, praised in his laudatory speech the even then unusually large and high-quality construction as exemplary investment in arts and culture.
The first play that was performed in the new house was Nathan the Wise.
Data
The building houses two venues: the Big House with a capacity of nearly 680 seats (at concerts and children's performances up to 730 seats) as well as the Workshop Theatre, offering about 100 spectators space.
The Palatinate Theater at the moment employs approximately 335 employees of various subjects.
Offering
The program of the Pfalztheater includes many different events for a wide audience, such as operas, musicals, operettas, theater and ballet. Each season, approximately 400 performances are offered. Furthermore, individual plays as guest performances are also performed on other stages in Germany, sometimes even abroad.
In addition to the individual ensembles of the three subjects, the house also has its own orchestra, an own choir, as well as an extra chorus and supernumeraries (extras).
Panorama picture of Pfalztheater
Personnel
Since the season 2012/2013 Urs Häberli is artistic director of the Palatinate Theatre. His predecessors were:
Wolfgang Blum 1971-1988
Michael Leinert 1988-1991
Pavel Fieber 1991-1997
Wolfgang Quetes 1997-2002
Johannes Reitmeier 2002-2012
The musical leadership is since the season 2006/07 in the hands of general music director Uwe Sandner. Predecessor in this post were Wilfried Emmert, Jiří Stárek (1989/1990 to 1992/1993), Lior Shambadal (1993 to the end of the 1999/2000 season) and Francesco Corti.
Theater director: Harald Demmer
Ballet director: Stefano Giannetti
Head of dramaturgy: Andreas Bronkalla
Head of stage design: Thomas Dörfler
We revised the Collide stage design in order to incorporate a 6x22 projected image. The multi-projector display was a test to explore what it would take to employ this technology for our weekly services
VISUAL COMPOSER PERFORMANCE
I perform my music with my interactive stage design.
It is best to experience my performance live.
I use Ableton Live with an M-Audio Microphone & Keyboard, and the keys of my MacBook Pro to make my tracks.
For this video, I am using an instrumental, but I am also a recording artist.
I make my music, write the lyrics, record my vocals, mix and master my albums.
I then create all the visuals.
I create every single aspect of my work to give you a spherical 4 dimensional experience of my Art.
To create the interactive animation, I write code in Processing (Open Source Programming Language based on Java).
In this video, my hands are controlling the visuals. For this, I use the Leap Motion sensor.
I use a Processing Library by onformative (a studio for generative design based in Berlin) called LeapMotionForProcessing to animate my visuals using Leap Motion.
The animation follows my hand movements in real-time and on key with accurate precision.
The visual is an animation within an animation with symmetry, which makes it a bit more challenging to control, making it even more fun.
Some of the visuals are generated by the music's decibel levels.
The main drive behind my work is PLAY. Play leads to fun, which leads to joy. Following our joy is the driving force in my life, and I want to share it with others. This is why I create interactive installations where people and children of different races and religions get to play and have loads of fun in a magical environment.
The VISUAL COMPOSER PERFORMANCE is a emotional piece with a dark track I made to expose the pain I feel everyday trying to survive in society. I perceive that the social system is set up by certain people to their benefit, while it is handicapping many others for whom it does not fit. I also see that many are unhappy with their jobs. Physicians and lawyers have high rates of suicide according to reports I have read. This is a time for us to question everything, and create a new social ecosystem that benefits all. Including the animals going instinct. I understand the Survival of The Fittest approach, but it does not have to be this way. I understand that nature is very violent and brutal, such as humans, but I also see a greater reality than this animalistic self-destroying one. It takes heart and courage to do what you love all day and all night all of the time forever. If you are willing to die for what you perceive as your purpose, then you are a Freedom Fighter… or simply, an Artist.
Thank you for watching this video and possibly sharing it.
Love Universal to All
Unity In Diversity
WillpowerStudios.com
Xica da Silva
JC Serroni (Brazil)
Set Design
Xica da Silva was a production from CPT— Center of Theatre Research at SESC— directed by one of Brazil’s leading directors, Antunes Filho that, despite being staged in a black box, had an exuberant design made
of the actors’ movement, props, costume and light. This production was known for both its extraordinary visual beauty and its symbolic richness.
Images posted with permission by editors
Garrick Theatre Southport, auditorium from stage. Designed by George E Tonge and opened in 1932 with 1,600 seats in stalls, circle and 8 boxes. It was a replacement for the Opera House which had burned down in December 1929, and was in an art deco style. Acquired by Essoldo in 1957, it was converted into a cinema, retaining the stage, but with seating reduced to 1,500. Bingo was introduced part-time in 1963, and quickly became full time as the Lucky 7 Club, later Top Rank and finally Mecca. After the enforced COVID lockdown, the club closed in 2021. Grade 2 listed.
Southport, Lancashire / Merseyside, North West England - Garrick Theatre / Mecca Bingo, Lord Street / Kingsway
A scanned negative from November 1995, image reworked 2021.
A theatrical adaptation of Thomas Bernhard's The Loser, featuring two performers playing Martin Bauer's score and an actor in the role of Bernhard's Narrator.
Minou Maguna's stage design called for 3 channels of video to evoke the relationships between the 3 characters who meet while studying with Vladimir Horowitz. The Narrator and Wertheimer find their lives emptied of meaning once they hear Glenn Gould's brilliant interpretation of the Goldberg Variations and give up their lifelong obsession with the piano in deference to Gould's superior talent.
For El Malogrado I shot location footage with the team in Buenos Aires and the muddy Pampas outside the city. Image processing and compositing is used to evoke the three prodigies' personas. A custom MIDI system controls 3 laptops running GRID to perform the 3 channel video score. Other sections are performed by rescanning video feeds warped by the live music signal.
Based on the novel by Thomas Bernhard
Composed, written and directed by Martin Bauer
Pablo Ruiz: actor
Oscar Pizzo (Italia), Lucas Urdampilleta (Argentina): piano
Art Direction by Minou Maguna
Jorge Chikiar: sound design
video design and performance by Benton-C Bainbridge
text selection and actor direction by Héctor Díaz
Con el auspicio de la Fundación Antorchas