View allAll Photos Tagged stage_design
Cleint: MOJO
Stage Design: 250K
Video Design: Eyesupply
Light Design: Wonderwolf
Head-Production: MOJO
Decor Prodcution: 250K
Video Production: Eyesupply / PRG
Show Director: 250K
Video Operator: Eyesupply
Light Operator: Ten Feet
Light: Flashlight
Video: PRG
Stagehands: Enschede Ploeg
Pictures: Eyesupply
Villa Rufolo (1270), built by Nicola Rufolo. The villa was mentioned by Giovanni Boccaccio in his Decameron and it is the place where Richard Wagner in 1880 was inspired for the stage design of his opera Parsifal / the Blue Body is part of the Sculpture Garden - by Alba Gonzales?
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
Cleint: MOJO
Stage Design: 250K
Video Design: Eyesupply
Light Design: Wonderwolf
Head-Production: MOJO
Decor Prodcution: 250K
Video Production: Eyesupply / PRG
Show Director: 250K
Video Operator: Eyesupply
Light Operator: Ten Feet
Light: Flashlight
Video: PRG
Stagehands: Enschede Ploeg
Pictures: Eyesupply
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
CD and Stage Design for the band Antoine Reverb.
El Disco se presentará este Sábado 25 de Abril, 2009.
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.
#Engagement Event with VIP #Decoration and #Stage #Design in BAHRIA Town SHERAN WALA FARMHOUSE
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Prince. Innovator, cultural icon, and uncompromising pioneer of musical freedom and creativity, Prince sold over 100 million albums worldwide in his 39-year career. Perhaps no single person defines music as much as this first-ballot Rock n' Roll Hall of Fame inductee. Incomparable singer and multi-instrumentalist in the studio, the phrase "produced, arranged, composed and performed by Prince" appeared on 39 ground-breaking albums during his lifetime, including Purple Rain, 1999, Diamonds And Pearls, Musicology and many more. At the same time, he contributed songwriting and musical performances - often uncredited - to dozens of albums by other artists. But Prince was also a live act like no other. With bands including the Revolution, the New Power Generation, and 3rdEyeGirl, Prince toured worldwide from 1979-2016, playing intense high energy arena shows, often followed by lengthy spontaneous small club 'aftershows.'
Ever an uncompromising visionary, Prince used an unpronounceable symbol as an album title in 1992 before taking it as his own name from 1993-2000. The symbol became as synonymous with Prince as the swoosh is with Nike. A Prince symbol LEGO set will allow fans around the world to honor the music and legacy of Prince while finding inspiration and drive for their own creative passions.
This set represents three forms of Prince's symbol, affording a multitude of display and play opportunities:
Wall Art. Using the new LEGO Art hanging system, Prince's symbol makes the perfect conversation piece on the wall of any living room, office, or music space. Let Prince's music and creative freedom inspire you on a daily basis in whatever you are building in your life. This 16.4" x 14.1" model includes 654 pieces.
Concert Stage. For his legendary Super Bowl XVI Half-Time Show in 2007, Prince performed on a stage in the shape of his symbol for the first time, before using the same stage design over the next several years - often using a gold stage, as on his record-breaking sold-out 21 Nights in London residency at the O2 Arena, the Welcome 2 America and Welcome 2 Australia tours, and his 21 Nights in Los Angeles residency. The set includes a full live line-up based on various eras of his New Power Generation band - including Prince in his trademark purple.* Also included are some stage props and anachronistic additions that provide fun nods to his full career - including a crystal ball, from his 1987 Sign O' The Times tour, and a dove symbolizing his #1 song When Doves Cry. Included with the purple piano, which Prince used for DJ-like 'sampler sets,' and which also represents his final one-man Piano & A Microphone Tour, is a tile printed with the phrase "2 many hits..." - a phrase concert-goers heard Prince say almost every night. A variety of Prince's many guitars and other instruments are also included in this 16.4" x 14.1" 948-piece model.
Symbol Guitar. Built by luthier Jerry Auerswald in 1993, the symbol guitar turned Prince's iconic name into the instrument he used the most. Also built in white and black versions, as well as in his trademark purple (an instrument he named "Habibi"), the gold version represented here is the only one to survive Prince's climactic guitar-flips as he threw the instrument to his guitar technician at the end of a show-stopping solo. The gold symbol guitar is now on display in Prince's musical home turned inspirational museum, Paisley Park Studios, in Chanhassen, Minnesota. This 19" x 14.1" 870-piece LEGO recreation is a perfect piece to display or to hold and 'play' using the variety of printed guitar picks as you listen to Prince's vast catalogue.
The symbol is synonymous with Prince and his inspiration of others. Get inspired to find your own muse and explore your own creativity with the Prince Symbol 3-in-1 set! After all, what could better symbolize music in a LEGO form?
*Please note that Prince's hair and clothing styles changed regularly, and there are several iconic looks that could be used in this set, including the Afro hairstyle that bookended his career; additional hairpieces and/or torsos could be included in the set to represent different eras.
Wael Shawky
curated by Carolyn Christov-Bakargiev and Marcella Beccaria
On view from November 3, 2016 – February 5, 2017
Inauguration: November 2, 2016
The retrospective of Wael Shawky (Alexandria, Egypt, 1971), held at the Castello di Rivoli, presents a series of film works, sculptures, and new wooden high-reliefs inspired by the Crusades and narrated from an Arab rather than a European point of view.
The artist transforms the space of the Manica Lunga, whose walls have been painted blue, into a spectacular stage design. The exhibition itinerary starts with the new wooden reliefs, and then unfolds across a construction inside of which Cabaret Crusades: The Horror Show File (2010) is screened, to continue with a garden with twenty-six sculptures on display. Another construction that calls to mind a minaret hosts Cabaret Crusades: The Path to Cairo (2012). The exhibition continues with a series of photographs of marionettes and ends with the third video in the trilogy, The Secrets of Karbala (2015). “Visitors – writes Marcella Beccaria – are swept off into the distant past, the echoes of which are nonetheless recognizable in our unstable present of Middle Eastern wars and new uncertainties.”
Inspired by Medieval Islamic sources like Usama Ibn Munqidh and Ibn al-Qalànisi—as well as The Crusades through Arab Eyes (1983) by the Lebanese historian Amin Maalouf—Cabaret Crusades lingers upon the history of the Church’s military campaigns in the Holy Land. The artist begins his story with the first Crusades, from 1096 to 1099, staged in the first chapter of the Cabaret Crusades: The Horror Show File. It then continues with the history of the events between the First and Second Crusade, covering the years between 1099 and 1145, represented in Cabaret Crusades: The Path to Cairo. These works bypass the more traditional notions regarding the clash of civilizations between the Western world and Islamic cultures. The use of marionettes instead of real actors allows the trilogy to be magical in tone and seemingly different from the violent and macabre subject described. Shawky used antique marionettes of the eighteenth century from the Lupi Collection in Turin for the first film and custom-made ceramic ones for the second work.
The Secrets of Karbala is the final chapter in the trilogy and uses glass marionettes from Murano. These glass marionettes blend human and non-human animal traits and the memory of ancient African masks. The work also mentions the Battle of Kerbela (680), the main and tragic event that ultimately led to the division between Shiites and Sunnis even today. The story ends with the capture of Constantinople by the Crusaders in 1204.
The trilogy treats the issue of history and human events overwhelmed by ambition and rivalry, by betrayal and violence.C
Client: Alda events / Armin van Buuren
Stage Design: 250K
Visuals & Operating: Eyesupply.tv
Pictures: Eyesupply.tv
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
Sharmila Biswas (Kolkata) - Odissi - 19 October 2010 (Tuesday)
A leading dancer and choreographer of Odissi, Sharmila Biswas was initiated by Kalavati Devi and Guru Bipin Singh at Children’s Little Theatre, Calcutta. She, then, came under the tutelage of the doyen of Odissi, Guru Kelucharan Mohapatra at the Padatik Dance Centre. Sharmila learnt abhinaya with Kalanidhi Narayanan. Her interest in the origins of Odissi led her to study the vocabularies of Oriya creative arts, including the life and works of the Maharis. She has also trained in several folk and tribal dance and music traditions of the state. Sharmila attended in 1990 the Young Choreographers' Workshop organized by the American Dance Festival where she interacted with eminent choreographers of world repute. Sharmila’s choreography reflects her strong groundwork in the traditional movement skills of India. Proficient equally in classical Odissi and experimental choreographic work, her originality in composition, technique and stage design allows her to explore and create new forms of expression. Variously honoured, Sharmila is the founder chairperson of the Odissi Vision and Movement Centre that promotes Indian dance and music through research, training and performances.
Presentation
The four-part presentation ABAHANI commences with Abahan. Abahan, or Invocation, traditionally seeks to invite the divine to bless the performance. Each dance style has evolved its own gestural and musical expressions for this ritual. Abahan explores these expressions in Odissi. The next piece, Gativilas, is inspired by a Sanskrit verse commonly chanted by rural mridanga players of Orissa. It describes the attributes of an ideal performer, comparing her gait, stance, energy and expressions with those of different animals. Katha Surpanakha, done in the kathakar style, portrays the many contrasting emotions that exist simultaneously in a person. Here, the dancer moves away from the grossness of Surpanakha’s appearance and mind, and attempts to create a more convincing character – her absolute focus on Rama when she sees him, her volatile reactions after, the life-changing realization that follows, and, finally, the grief of rejection. The music for this segment draws on the popular styles of Coastal Orissa and well-known medieval texts, such as Baidihesa Bilasa by Kavisurya Upendra Bhanja and Bichitra Ramayan by Biswanath Khuntia. The fourth and final piece is Murchhana that highlights the special features of Odissi mridanga, and the form of Odissi dance that emerges when accompanied by it.
Peter McKinnon with three of the research assistants on the project. Left to right: Amelia Kerrigan, Laura Andrew, Mckinnon, Amelia Taverner.
Stage design model (1931) by Antonín Heythum,
for Shakespeare's The Merchant of Venice,
Veletržni Palác, Prague.
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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