View allAll Photos Tagged stage_design
This is the stage set for our current series on Road Blocks. It's a four part series focusing on road blocks life brings along this journey. We have a couple of props that are not shown, one being a road block that the speakers attaches to the road.
Our first series of 2009! "Christianity Undressed" Dressing rooms constructed of wood. 10' sections of truss. 4 30w Pinspots used to light interior of truss. 2 AC Lighting Color Splits and 2 Par 64 fixtures hung from truss. 5 High End Systems Studio Beam fixtures on back row.
Walk-In Cue
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
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
4 Week Series on creation and evolution. Created w/ a team of 7. Leaves are wooden cutouts suspended by wooden dowels, painted by hand by artist and lit w/ single Source 4 Jr. Zoom and a homemade gobo from pie pan. 2 Jr Zooms used for blue back ground of ORIGINS and a custom Apollo gel for the word itself. We used hay bales stacked and burlap to build the dirt pile. For the dirt we used peat moss.
Directors of Cave, one of the oldest experimental art spaces and artist collectives in Brooklyn, New York, artists Shige Moriya and Ximena Garnica brought butoh dance to the Asian Art Museum.
Photos by Deborah Clearwaters.
Poland, 9/11/2005,
making a stage design to a film "ghetto", concentration camp in Stutthoff will play Auswitz conentration camp(PL)
About this film project: www.dfi.dk/english/Danish+films/FeatureFilmsByYear/filmFa...
A Multi Media Performance by Rhodri Hugh Thomas in Collaboration With Carolina Vasquez Based on the poem and art work “Who’s Afraid?” by Susan Richardson and Pat Gregory. First performance in the Willow Theatre. Photo by Mathew Talfan
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.[1]
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.”[2]
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."[3]
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.[4]
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."[4]
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.[4]
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.[1]
Eugene died of heart failure in Munich in 1936.
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
Built in 2 stages for Ruthven Frederick Ruthven-Smith of London, architects Alfred Barham Black & Henry Ernest Fuller, brick with cement dressings, first stage with 16 flats completed Jan 1912, second stage designed by Black opened Nov 1915. When sold 1954 to SA Government, there were 44 flats, 6 shops, 2 small bulk stores, and a two-storey showroom. The building fell into disrepair and by 1976 had lost its balconies, later saved from demolition, renovated & restored to resemble original, now serviced apartments.
“A huge palm was growing in front of the old building in Pulteney-street, which was, demolished recently to make room for the new residential flats which Mr Ruthven Smith is going to erect there. It was planted many years ago by Miss Townsend, the lessee of one of the houses, and she presented it to the Zoological Gardens. Last week the palm, with about 1½ tons of earth in a ball round its roots, was lifted after considerable trouble and placed on one of the drays belonging to the Zoo When the load had been conveyed a little way along North-terrace the vehicle gave way, and the palm had to be left there all night. On the following morning the transfer was completed, and the palm now occupies a position at the north eastern corner of the Gardens, opposite the new wild dog open cages.” [Advertiser 18 Jul 1910]
“Ruthven Mansions. The fine block of residential flats being erected in Pulteney street for Dr. R. F. Ruthven Smith, of London, are now nearing completion. The mansions will contain 16 sets of flats, varying in size from two to six rooms. Each flat will be provided with its own bathroom. Electric light, electric lifts, and hot-water service throughout are a few of the conveniences of this thoroughly modern building. Provision is made for a spacious roof garden, and a restaurant will find a place on the ground floor.” [Register 8 Jun 1911]
“There is in all accommodation for 16 families. The ground floor is devoted to four shops. Two of these, with their respective basements, have been fitted up as the ‘Cafe Rubeo’, complete with a fine kitchen containing a range, bain-marie, griller, cool chamber, &c. The walls and floor of the kitchen are tiled, thus enabling the whole place to be easily kept clean. . . The walls of the dining room are tinted a pale green, with a dark green ‘lincrusta’ dado, copper fittings, and leaded lights in quiet tones. Another shop has been fitted up as a hairdressing saloon.” [Advertiser 15 Feb 1912]
“The main entrance to the mansions is through a handsome pair of cedar and bevelled glass ‘sesame’ doors, the first of their kind to be introduced into Adelaide. These doors open mechanically immediately a visitor steps upon the mat outside, but so ingenious is the device by which they are controlled that they will not open to the force of strong winds.” [Register 15 Feb 1912]
“Some Original Holders. One of the absentees, who is still represented by a descendant, in the ownership of Adelaide city property, was Mr. S. G. Smith, whose nephew, Mr. Ruthven Smith, is the proprietor of those handsome residential flats known as ‘Ruthven Mansions’ in Pulteney-street, which are built on part of the acre which was selected by Mr. S. G. Smith in March, 1837. Mr. Ruthven Smith also owned, until he disposed of them quite recently, several acres in Grote-street.” [Advertiser 2 Aug 1913]
“Pulteney-street Improvements. Mr. C. B. Hardy, as attorney for Mr. Ruthven Frederick Smith, of England, has accepted a tender from Mr. Walter C. Torode to complete the building in Pulteney-street, Adelaide, known as Ruthven Mansions. Mr. A. Barham Black, L.R.I.B.A.. is the architect. The work under notice will be an extension of the present structure up to Austin-street, with basements, shops, residential flats, and chambers, at a cost of about £17,000.” [Advertiser 25 May 1914]
“Additions to Ruthven mansions. . . Some months ago plans were prepared by Mr. A. Barham Black for extensions to the building; and Mr. Walter Torode undertook to materialize the architect's design. . . To allow the occupants of the apartments to obtain an unobstructed view of the city and hills, provision has been made for an elevated look-out or upper flat above the roof.” [Register 7 May 1915]
“The first block of Ruthven Mansions was completed about January, 1912, having taken 18 months to erect. The second block secured attention early the next year. Mr. Ruthven-Smith by then having purchased Mr. David Tweedie's block of land on the north side of the first block, which consisted (apart from ground floor shops and restaurant) of two floors subdivided into uniformly planned six-roomed flats. . . The ground floor was planned as three shops. The whole of the three shops, as well as all the basement; has been let to Messrs. Hosking Bros., ''Craft House," the well-known art furniture firm,” [The Mail 20 Nov 1915]
“His Worship the Mayor of Adelaide (Mr. Allan Simpson) declared the building open, and, in a few appropriate words, proposed the health of Mr. R. F. Ruthven Smith, who is the absent owner of Ruthven Mansions, and Mr. C. B. Hardy suitably responded. As a scheme for supplying to Adelaide what has been a very long-ielt want in most cities, this scheme dates from August, 1909, when Mr. C. B. Hardy, attorney for Mr. R. F. Ruthven-Smith, of London, asked his architect, Mr. A. Barnham Black, for sketch plans adapted to the area of land the owner was able to set apart for the purpose. The first intention was to build what ould have been more "chambers" than residential flats, but the scheme shortly took the latter definite form.” [Critic, Adelaide 24 Nov 1915]
“a water main on the west side of Pulteney-street burst at 12.15 a.m. today, and, rising 60 feet into the air, the water flooded several flats in Ruthven Mansions. . . Many thousands of gallons spurted through a hole in the road about three feet in diameter, and spread across about 50 feet in front of the mansions and sprayed in through windows on the fourth storey. It was not until 1.15 a.m. that the water was turned off.” [Advertiser 16 Oct 1931]
“By a majority decision the High Court dismissed with costs today the appeal of Cox Bros. (Aust.) Ltd., occupiers of premises in Pulteney street, Adelaide, and Ruthven Frederick Ruthven-Smith. owner of the premises, against the South Australian Commissioner of Public Works. Cox Bros, claimed £3,000 for damage done to its stock through the bursting of a water main in the street. Smith claimed £500 damages caused to the premises. Mr. Justice Piper, who heard the action in Adelaide, found that there was no negligence on the part of the Commissioner, and gave judgment in his favor.” [Advertiser 7 Nov 1933]
“Ruthven Mansions. . . Until recently the first floor of the building was occupied as a large showroom, but in view of the constant demand for accommodation in the Mansions, the management decided to reconstruct the whole of that area into additional flats. Messrs. Garlick & Jackman were the architects to whom the work was entrusted. Now that which was once a well-disposed showroom has been transformed into seven delightfully modern flats. . . For demonstration purposes, a full suite has been tastefully furnished by John Martin & Co. Ltd.” [The Mail 29 Jul 1939]
“A well-known four-story city building — Ruthven Mansions in Pulteney street — will be sold at auction soon. . . The property consists of 44 self-contained flats, six shops, two small bulk stores, and a two-story showroom. . . The building, which covers the whole of the land, has frontages to three streets. . . to Pulteney. . . to Austin, and . . . along Porters lane, Residential tenancies have about three years to go. The property is owned by Mrs. D. R. Ashworth, daughter of Mr. R. F. Ruthven-Smith, after whom the building was named.” [News 2 Jul 1954]
“Ruthven Mansions, Pulteney street, which was sold by auction this week to the State Government for £90,000, will be used to accommodate additional staff at the Royal Adelaide Hospital. . . little alteration would be necessary to the building which should be ready In three years. . . at present there was no accommodation for the staff of the large casualty block being planned at the hospital and the mansions had been bought to house this staff. The building, which would accommodate 200 nurses or 100 nursing sisters, would be used as a nurses' home for a number of years, but would ultimately be disposed of when a new nurses' home was built near the hospital.” [Advertiser 13 Aug 1954]
The stage design for our new series "Old Time Religion" - the idea was to portray a 50's style church in our portable setting, so we used red velvet curtains to drape beneath our screens and as backdrop for a 13 ft. tall cross made of faux wood. We also built plexi-glass stained glass windows and a 50's era pulpit and altar. For the first week we also had a 13 member choir and rented a B3 organ with Leslie cabinet.
We were careful to not be mocking with anything we made, but instead we made efforts to be nostalgic and honoring the churches many grew up in.
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enricarchivell: #stage #design #teatro #teatrogalileo #jardines #elburguesgentilhombre
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
Here's a look at our April '09 "The Vineyard" Series stage design. We've been milking our big stage riser on stage for several months now. This design cost approximately $250 for the poles to make the side structures wrapped in spandex. We'll be able to use these structures for many things in the future! Vines were painted by hand onto spandex. For additional info, see www.productionmusings.com
So this house does it all for me....it requires skill in all the disciplines..planning,building,painting,papering,electrical,coordinating...its like stage design on a small scale....and its never finished...which I like a lot...[ thats the surest sign of maturity]...
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
Early stage design drawings / concept visuals set into the proposed plot and landscape. The project is live, land acquired, cleared and ready to go.
The indicated landscape contours are a marriage of a site survey and Google-Earth technology, which provides an extremely accurate representation of the landscape we are working with.
Space Projects Ltd - 2011