View allAll Photos Tagged stage_design
Homer Flynn
Moleshow Stage Design Original Art
11 x 17 inches
1982
Pen and ink on vellum
Designed by Hardy Fox
Work in progress collages from the stage design for new composed Opera Konsumia By Rasmus Zwicki, in Odense, Denmark 2009
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enricarchivell: #theatre #stage #design #carme #conesa #matadero #lasamistadespeligrosas
Client: Alda events / Armin van Buuren
Stage Design: 250K
Visuals & Operating: Eyesupply.tv
Pictures: Eyesupply.tv
Model of the stage design for Leoš Janáček's Jenůfa at Malmö Opera House
In the workshop of Leslie Travers
The Pullens Estate was developed by builder James Pullen from 1886.
The estate originally comprised of 684 dwellings in 12 blocks, with 4 yards containing 106 workshops. The estate suffered bomb-damage during the Blitz, with the remaining buildings protected from demolition in the 80s due to protests by the Residents' Association and squatters.
Visuals and stage design by DEFRAME Collective, at Mammoth techno stage, Source on Ice 2011
pictures and cropping/color correction by Leon Lubberdink and Jessica Dreu
Customized Flexible LED Video Curtain Screen
Pitch: 50mm
size: 4m x7.2m
Protection level: IP65
pixels: RGB 5050 SMD LED
Taken by: Fisher Dakota
contact info: yuchao622@hotmail.com
All rights reserved.
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
Customized Flexible LED Video Curtain Screen
Pitch: 50mm
size: 4m x7.2m
Protection level: IP65
pixels: RGB 5050 SMD LED
Taken by: Fisher Dakota
contact info: yuchao622@hotmail.com
All rights reserved.
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
The Dillinger Escape Plan - Option Paralysis tour - Europe, winter 2010
Stage design by TremensS/ExperiensS
Shot by Sophie Mari
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.
Cher at Ceasar's, Las Vegas 2008 show. Stage design by Jeremy Railton and Entertainment Design Corporation.
Title: Festival Designs by Inigo Jones: An Exhibition of Drawings for Scenery and Costumes for the Court Masques of James I and Charles I
Author: Thomas S. Wragg
Publication: International Exhibitions Foundation
Publication Date: 1966
Book Description: White paperback with 117 black and white plate illustrations by Inigo Jones.
Call Number: NC 115 .J65
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
Marius Manole – STEVE
Antoaneta Cojocaru – HELEN
Bogdan Dumitrescu – JERKS
Mihai Cuciumeanu – EMERSON
Iulian Postelnicu – PECA
Rodica Ioana Ionescu - STAMOS
Stage design: Mihai Pacurar
Video: Ioan Cocan
DJ Yann LeBlay
Choreography: Ramona Barbulescu
Theatre director: Carmen Lidia Vidu
“I Hate Helen is not a play! But it surely is something that announces the art form of the next decades. So why don’t you take a look?” Cristina Rusiecki
For how long can you really feel you are not alone?
What about your love life?
And when does the hatred begin?
“I Hate Helen is not a play, or to put it in a better way, it is not only a play. It is more like a movie, a Cartoon Networkly cartoon, a music; it sweats urban legend (snuff is just an example) it is underground and anti-underground at the same time and it is a savoury parody.
These elements, if considered separately, are successful, but if considered together, plus the actors’ performance, they are simply unheard-of and I must say very joyful. It a mixture of multimedia, a chaos finally aligned by the thread of the parody created by the media discourse.” (Sonia Lodi )
Cher at Ceasar's, Las Vegas 2008 show. Stage design by Jeremy Railton and Entertainment Design Corporation.
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
Cher at Ceasar's, Las Vegas 2008 show. Stage design by Jeremy Railton and Entertainment Design Corporation.
Cher at Ceasar's, Las Vegas 2008 show. Stage design by Jeremy Railton and Entertainment Design Corporation.
A Parttime job as designer in an event organizer. The job is to design graphic poster, invitation card, stage design to maintaining logistic equipment
Customized Flexible LED Video Curtain Screen
Pitch: 50mm
size: 4m x7.2m
Protection level: IP65
pixels: RGB 5050 SMD LED
Taken by: Fisher Dakota
contact info: yuchao622@hotmail.com
All rights reserved.
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 on this project: koloist.com/index.php/2009/11/23/karen-stuke-s-opera-stag...
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.