View allAll Photos Tagged stage_design
This is for a sermon series coming up in June where we're talking about sin and salvation because those were a bulk of the questions we received when we had people text in questions.
We're focusing on captivity and freedom.
I made notes to show what each thing is being used for.
Looking for more ideas. How can I make this better and/or more cohesive? The stage design is including bars, chains, and an electric chair (instead of a cross). I've decided to bring in the humanity through the design. I don't want to go overly literal with it (making real-looking mugshots, etc).
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
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
#Engagement Event with VIP #Decoration and #Stage #Design in BAHRIA Town SHERAN WALA FARMHOUSE
Follow us on Instagram @a2zevents and @DclassyClicks
Call us for details and bookings +92-321-4268177 +92-324-4921459 +92-333-4645869
PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan
Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.dclassyclicks.com
#Engagement #Engagement_Event #royal_wedding #royalDecoration #vipstage #vip_stage_design #stage_decor #vipDecor #vip_decoration #flowerDecor #FlowerDecoration #wedding_decor #best_weddings_planners_in_Lahore #Pakistan_Best_Weddings_Caterers #Pakistan_Best_Events_Planners #Weddings_Planners #Pakistan_Best_Weddings_Planners #Best_Weddings_Setups #Best_Mehndi_Setup #Designers #Best_Barat_Walima_Setup #Best_Functions_and_Parties_Decorators #Best_Events_Designers_and_Caterers_in_Lahore #acrylic_chairs #props #props_for_bride, #props_for_couple #props_for_photoshoot
Students of the Royal Conservatory [The Hague] viz. T.I.M.E. [This is Music-theatre Education] performing Bensdorp's/Verlaak's Cyclophony: Linking Voices - Desdemona;
Paul Koek, stage design;
Paul Beuk, bicycle construction;
Holland Festival;
Rijksmuseum [Fietstunnel], Amsterdam,
June 13th, 2013;
all rights reserved: co broerse
with thanks to Facebook, the T.I.M.E. page and Thomas Bensdorp
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
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.
Client: Alda events / Armin van Buuren
Stage Design: 250K
Visuals & Operating: Eyesupply.tv
Pictures: Eyesupply.tv
Premiere | Breslau Opera House
Choreography | Giorgio Madia
Stage Design | Kinsun Chan
Costume Design | Małgorzata Słoniowska
Ewa Demarczyk
www.youtube.com/watch?v=I7UliuywsT4
Elements of Stage Design designed by me in Project for the Grand Gala "Sochaczew rozśpiewany" starring Cabaret "Piwnica pod Baranami"
12.01.2014
Maker: Frank Eugene (1865-1936)
Born: USA
Active: USA
Medium: Photogravure
Size: 4 3/4" x 6 1/2"
Location: USA
Object No. 2009.044o
Shelf: C-6
Publication: Camera Work, No 31
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997, pg 517
Camera Work, A Pictorial Guide, Dover, 1978, pg
Other Collections:
Notes: Frank Eugene (19 September 1865 – 16 December 1936) was an American-born photographer who was a founding member of the Photo-Secession and one of the first university-level professors of photography in the world. Eugene was born in New York City as Frank Eugene Smith. His father was Frederick Smith, a German baker who changed his last name from Schmid after moving to America in the late 1850s. His mother was Hermine Selinger Smith, a singer who performed in local German beer halls and theaters.
About 1880 Eugene began to photograph for amusement, possibly while he was attending the City College of New York.
In 1886 he moved to Munich in order to attends the Bayrische Akademie der Bildenden Künste (Bavarian Academy of Fine Arts). He studied drawing and stage design. After he graduated he started a career as a theatrical portraitist, drawing portraits of actors and actresses. He continued his interest in photography, although little is known of his teachers or influences. He returned to the United States, and in 1899 he exhibited photographs at the Camera Club in New York under name Frank Eugene. The critic Sadakichi Hartmann wrote a review of the show, saying “It is the first time that a truly artistic temperament, a painter of generally recognized accomplishments and ability asserts itself in American photography.” A year later he was elected to The Linked Ring, and fourteen of his prints were shown that year in a major London exhibition. Already at this stage in his career he had developed a highly distinctive style that was influenced by his training as a painter. He assertively manipulated his negatives with both scratches and brush strokes, creating prints that had the appearance of a blend between painting and photography. When his prints were shown at the Camera Club in New York, one reviewer commented that his work was "unphotographic photography."
In the summer of 1900 an entire issue of Camera Notes was devoted to his art, an honor accorded only a few other photographers. In early 1901 he traveled to Egypt. He returned a few months later and met with photographer F. Holland Day in Narragansett, R.I., during the summer. In late 1902 Eugene becomes a Founder of the Photo-Secession and a member of its governing Council. In 1904 one gravure published in Camera Work, No. 5 (January). In 1906 Eugene moved permanently to Germany. He was recognized there both as a painter and a photographer, but initially he worked primarily with prominent painters such as Fritz von Uhde, Hendrik Heyligers, Willi Geiger, and Franz Roh. He photographed many of these and other artists at the same time. He also designed tapestries that he used as backgrounds in his photographs. A year later he became a lecturer on pictorial photography at Munich’s Lehr-und Versuchs-anstalt fur Photo graphie und Reproduktions-technik (Teaching and Research Institute for Photography and the Reproductive Processes). At this point, photography rather than painting became his primary interest. He experimented with the new color process of Autochromes, and three of his color prints are exhibited at Alfred Stieglitz’s Photo-Secession Galleries in New York. In 1909 two more of his gravures were published in Camera Work, No. 25 (January). In 1910 twenty-seven of his photographs were exhibited at a major exhibition in Buffalo, New York. The catalog for this show described Eugene as the first photographer to make successful platinum prints on Japan tissue. Ten more of his gravures published in Camera Work, No.30 (April), and fourteen additional images appear in No.31 (July). More than any other photographer of the early 20th century, Eugene was recognized as the master of the manipulated image. Photographic historian Weston Naef described his style this way:
"The very boldness with which Eugene manipulated the negative by scratching and painting forced even those with strong sympathy for the purist line of thinking like White, Day and Stieglitz to admire Eugene's particular touch...[he] created a new syntax for the photographic vocabularity, for no one before him had hand-worked negatives with such painterly intentions and a skill unsurpassed by his successors." In 1913 he was appointed Royal Professor of Pictorial Photography by the Royal Academy of the Graphic Arts of Leipzig. This professorship, created especially for Eugene, is the first chair for pictorial photography anywhere in the world. Two years later Eugene gave up his American citizenship and became a citizen of Germany. He continued teaching for many years and was head of the photography department at the Royal Academy until it closed in 1927. Eugene died of heart failure in Munich in 1936.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
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
Photographer Karen Stuke created a beautiful opera house stage design now on display in the “Berlin Through My Lens” Exhibition. Throughout the city, residents have been discussing the subject of the public financing Berlin opera houses. She used a red Kolo Havana photo box for the model base of a proposed opera house to be built in the working class district of Berlin-Wedding. Her model includes a well-designed floor plan, lights and a background displaying her unique pinhole photographs.
Karen’s passion for opera and theater started at a young age, leading her to become an influential stage and theater photographer. She believes that theater is an art form and her cause is to keep the play alive long after the curtain falls. She developed the idea of a camera obscura theater photograph, combining multiple exposures into one single photograph, to capture the essence of the play.
Karen’s work is on display at Monochrom, Ackerstrasse 23-26, one of five fine retailers participating in the three-week walking tour celebrating Berlin’s creative community.
For more information on this project: koloist.com/index.php/2009/11/23/karen-stuke-s-opera-stag...
Projection screens for moving blue skies, astro-turf frame, really big plastic flowers, and a river of red cherries.
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
#Engagement Event with VIP #Decoration and #Stage #Design in BAHRIA Town SHERAN WALA FARMHOUSE
Follow us on Instagram @a2zevents and @DclassyClicks
Call us for details and bookings +92-321-4268177 +92-324-4921459 +92-333-4645869
PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan
Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.dclassyclicks.com
#Engagement #Engagement_Event #royal_wedding #royalDecoration #vipstage #vip_stage_design #stage_decor #vipDecor #vip_decoration #flowerDecor #FlowerDecoration #wedding_decor #best_weddings_planners_in_Lahore #Pakistan_Best_Weddings_Caterers #Pakistan_Best_Events_Planners #Weddings_Planners #Pakistan_Best_Weddings_Planners #Best_Weddings_Setups #Best_Mehndi_Setup #Designers #Best_Barat_Walima_Setup #Best_Functions_and_Parties_Decorators #Best_Events_Designers_and_Caterers_in_Lahore #acrylic_chairs #props #props_for_bride, #props_for_couple #props_for_photoshoot
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
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