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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
A co-production of the Festival d'Aix-en-Provence, Teatro La Fenice and Verona Opera Academy
Conductor / Leonardo García Alarcón
Stage director, stage design, costumes / Saburo Teshigawara
Acis / Julien Behr - Pascal Charbonneau
Galatea / Julie Fuchs - Joelle Harvey
Damon / Rupert Charlesworth
Coridon / Zachary Wilder
Polypheme /Joseph Barron -Grigory Soloviov
Orchestra / Baroque orchestra of the Académie européenne de musique
Interns:Three assistants sent by the Verona Opera Academy: Fabrizio Pompei (stage director’s assistant) Anna Volpi (set designer’s assistant) David Jackson (conductor’s assistant)
Soloists chorus:Magali Arnault Stanczak, Christopher Lowrey, Zachary Wilder, Rupert Charlesworth, Joseph Barron, and Grigory Soloviov
Photo credit - Patrick Berger ArtcomArt ©
Client: Alda events / Armin van Buuren
Stage Design: 250K
Visuals & Operating: Eyesupply.tv
Pictures: Eyesupply.tv
IUGTE Conference "Theatre Between Tradition and Contemporaneity" - annual international multidisciplinary conference researching the Bridge between Tradition and Contemporaneity in performing arts - Theatre - Dance - Music - Visual & Multimedia Art - Arts administration - Stage Design & Technology.
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
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
Architecture / Stage Design / Music workshop;
interior design by Stephan Zimmerli / Ueli Frischknecht / Vassily Laffineur (within building by Le Corbusier, 1924-1927);
wooden structures made by Ueli Frischknecht in Chur (Graubünden, Switzerland); October 2009
Architecture / Stage Design / Music workshop;
interior design by Stephan Zimmerli / Ueli Frischknecht / Vassily Laffineur (within building by Le Corbusier, 1924-1927);
wooden structures made by Ueli Frischknecht in Chur (Graubünden, Switzerland); October 2009
Premiere | Breslau Opera House
Choreography | Giorgio Madia
Stage Design | Kinsun Chan
Costume Design | Małgorzata Słoniowska
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
Work in progress collages from the stage design for new composed Opera Konsumia By Rasmus Zwicki, in Odense, Denmark 2009
Co-Editors Peter McKinnon (left) and Eric Fielding stand at the book table at the launch of their book World Scenography 1975-1990.
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 by www.m-a-u-s-e-r.net/
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
Detailed photoshop rendering of a stage design for a new television show about to be launched. Show is called "What's The Word" with Dinahsty.
Cher at Ceasar's, Las Vegas 2008 show. Stage design by Jeremy Railton and Entertainment Design Corporation.
Morton Feldman: composer
Joan La Barbara: singer
Martin Bauer: director
Minou Maguna/Benton-C Bainbridge: video and stage design
Born in Rhodesia, she studied painting and stage design at the Slade (1955-60). Taught at the Camberwell School of Arts and Crafts, the Slade, the Central School and Wimbledon. A designer for theatre and ballet, she has worked for the Royal Opera House and the Royal Ballet, as well as Sadler's Wells, the Oxford Playhouse and the Stuttgart Ballet company. As well as being included in Twenty Years of British Stage design, a British Council show which toured Europe, she has exhibited paintings and designs in London, Paris, Verona, Cologne and Milan. In 2000 she won the Garrick-Milne prize for theatrical portrait painting.
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
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