View allAll Photos Tagged videoprojection,
Video projection of Arts Skins on Monuments at the facade of Asian Civilisations Museum during iLigh Singapore Bicentennial Edition.
Video projection of Arts Skins on Monuments at the facade of Asian Civilisations Museum during iLigh Singapore Bicentennial Edition.
Series of photographs made of two male and female models taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2016
A celebration of our heritage at The Fullerton Hotel's facade. The spectacular light show with video projection and music by Hexagon Solution.
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
A celebration of our heritage at The Fullerton Hotel's facade. The spectacular light show with video projection and music by Hexagon Solution.
L’ÊTRE HUMAIN AU CŒUR DES TECHNOLOGIES
13 ARTISTES, 8 ŒUVRES DANS LE QUARTIER DES SPECTACLES
Du 1 AU 18 OCTOBRE 2015
Espace Commun? est un parcours de 8 œuvres dans divers lieux publics du Quartier des spectacles de Montréal, présenté du 1 au 18 octobre 2015. Résultat d’un processus créatif ayant pour thématique l’être humain au cœur des technologies, il réunit les talents de 13 artistes en provenance de 7 pays. Montréal constitue la première étape de ce parcours interactif international. Espace commun?, une coproduction de l’Office national du film du Canada, du Partenariat du Quartier des spectacles et de MUTEK, s’inscrit dans le vaste projet Human Futures réalisé grâce au soutien du programme Culture de l’Union européenne.
www.quartierdesspectacles.com/fr/evenement/127/espace-commun
__________________________
HUMANS AT THE HEART OF TECHNOLOGY
13 ARTISTS, 8 WORKS IN THE QUARTIER DES SPECTACLES
Common Space? is a tour of eight new works displayed at various sites in Montreal’s Quartier des Spectacles from October 1 to 18, 2015. It is the outcome of a creative process that merges the talent of 13 artists from seven countries, as they explore the question of humans at the heart of technology. Common Space? is an NFB, Quartier des Spectacles Partnership and MUTEK co-production, and is part of the much larger Human Futures project, produced with the support of the European Union’s Culture Programme.
www.quartierdesspectacles.com/en/event/127/common-space
__________________________________________
A SIDE MAN 5000 ADVENTURE
Darsha Hewitt et Nelly-Ève Rajotte (Canada)
Goethe-Institut
Le Wurlitzer Side Man 5000, créé en 1959, est le plus ancien « beat box » et le plus lourd instrument de musique portable au monde. Darsha Hewitt s’est interrogée sur le potentiel esthétique et innovant de le faire revivre. Elle expose cette fascinante machine et présente des films tutoriels expliquant son fonctionnement. Nelly-Ève Rajotte, quant à elle, propose un projet de multiprojections, une expérience immersive et luxuriante qui expose les rouages complexes et uniques du Wurlitzer Side Man 5000, accompagné d’une composition réalisée à partir d’extraits sonores provenant de cet instrument.
__________________________________________
Darsha Hewitt and Nelly-Ève Rajotte (Canada)
Goethe-Institut
The Wurlitzer Side Man 5000, created in 1959, is the oldest “beat box” and heaviest portable musical instrument in the world. Darsha Hewitt explores the aesthetic and innovative potential of reviving the Side Man by presenting this fascinating machine along with tutorial videos explaining how it works. Meanwhile, Nelly-Ève Rajotte offers a lush and immersive multi-projection experience that exposes the complex and unique workings of the Wurlitzer Side Man 5000, accompanied by a composition of sound bites from this instrument.
__________________________________________
Photo : Martine Doyon
Series of photographs made of two male and female models taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2016
The light art installation of video projection with music by Philippe Rizzotti, Stephane Beve and Milosh Luczynski (France) at the Singapore Art Museum building facade during the Singapore Night Festival 2012.
Preso alla lettera
Il Writing, alla lettera scrittura, è una disciplina codificata con tanto di storia alle spalle e di un rigido regolamento d’appartenenza. La pratica del writer si confronta costantemente con diverse tipologie di confini: la labile soglia tra legale e illegale, l’eterna diatriba tra arte e non arte, la frontiera concettuale della linea. Elemento fondante di un graffito è infatti l’outline, la sottile definizione di un contorno, che è parte intergrante dell’opera, ma che si frappone tra l’indagine ingegneristica del lettering da cui salpa e il contesto urbano in cui drasticamente approda. L’Aerosol art, come spesso viene chiamata, nel tempo ha subito un aggiornamento tecnologico che non si è limitato all’accrescimento della precisione tecnica o alla migliore performanza degli spray.
Plotterflux è la realizzazione concreta della deriva mediale del writing. La contaminazione con gli altri linguaggi del visivo - il fotografico, il cinematografico, l’audiovisivo in genere - consente alla crew dei Bergamasterz (Verbo, Font, Hemo, Loathin e Alfa) di esibirsi in un live media che fonde su di un’unica superficie la materialità del colore con l’immaterialità della proiezione. Il percorso di apprendimento di un writer passa attraverso l’assimilazione di principi basilari: velocità, precisione, stile. Verbo, superato il training iniziale, conduce una ricerca sul medium che lo porta a contagiare esperienze apparentemente inconciliabili come il writing e il vjing. L’utilizzo della luce in luogo del colore (proiettori al posto delle bombolette) consente di apparire e scomparire ancora più velocemente senza lasciare traccia, almeno sui muri. La pre-produzione (elaborazione digitale, Software engineering) si sposa alla post-produzione (live mix video) ingaggiando una guerriglia di simboli, icone e segni che alberga temporaneamente in disparati contesti urbani.
La parola d’ordine è free style: libere associazioni di idee, indiscriminate sovrapposizioni di concetti, improvvise accelerazioni linguistiche e brusche frenate sintattiche. Le Video Incursioni rappresentano la summa di un percorso che è iniziato in strada e non può far altro che ritornare in strada. Perché la strada è il veicolo di una comunicazione pubblica, veloce e illimitata. Perché la strada è capace di accogliere, di essere portatrice sana di una democrazia reale. Perché la strada è cultura, e viceversa. (Claudio Musso)
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
L’ÊTRE HUMAIN AU CŒUR DES TECHNOLOGIES
13 ARTISTES, 8 ŒUVRES DANS LE QUARTIER DES SPECTACLES
Du 1 AU 18 OCTOBRE 2015
Espace Commun? est un parcours de 8 œuvres dans divers lieux publics du Quartier des spectacles de Montréal, présenté du 1 au 18 octobre 2015. Résultat d’un processus créatif ayant pour thématique l’être humain au cœur des technologies, il réunit les talents de 13 artistes en provenance de 7 pays. Montréal constitue la première étape de ce parcours interactif international. Espace commun?, une coproduction de l’Office national du film du Canada, du Partenariat du Quartier des spectacles et de MUTEK, s’inscrit dans le vaste projet Human Futures réalisé grâce au soutien du programme Culture de l’Union européenne.
www.quartierdesspectacles.com/fr/evenement/127/espace-commun
__________________________
HUMANS AT THE HEART OF TECHNOLOGY
13 ARTISTS, 8 WORKS IN THE QUARTIER DES SPECTACLES
Common Space? is a tour of eight new works displayed at various sites in Montreal’s Quartier des Spectacles from October 1 to 18, 2015. It is the outcome of a creative process that merges the talent of 13 artists from seven countries, as they explore the question of humans at the heart of technology. Common Space? is an NFB, Quartier des Spectacles Partnership and MUTEK co-production, and is part of the much larger Human Futures project, produced with the support of the European Union’s Culture Programme.
www.quartierdesspectacles.com/en/event/127/common-space
__________________________________________
POÈME MÉCANIQUE
Tobias Ebsen (Danemark)
Espace culturel Georges-Émile-Lapalme de la Place des Arts
Cette œuvre est une sculpture sonore électromécanique, faite d’un millier de disques miroirs qui basculent autour d’un axe central pour créer une délicate symphonie. Tenez-vous simplement debout, au centre du cercle, pour vivre une expérience auditive unique. Entouré par la musique, vous vous sentirez coupé du monde… au beau milieu de l’espace public.
__________________________________________
Tobias Ebsen (Danemark)
Espace culturel Georges-Émile-Lapalme de la Place des Arts
This electromechanical sound sculpture is made from a thousand mirror disks that revolve around a central axis to create a delicate symphony. Simply stand in the centre of the circle to experience music like you’ve never heard it before. Surrounded by sound, you’ll feel entirely cut off from the world—while standing right in the middle of a public space.
__________________________________________
Photo : Martine Doyon
Myself and 2 friends went out to Midland and did a test run of the live projection of drawing against a building.
Art by Chris Lawrence.
[All photos (c) Gary Parris]
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
Preso alla lettera
Il Writing, alla lettera scrittura, è una disciplina codificata con tanto di storia alle spalle e di un rigido regolamento d’appartenenza. La pratica del writer si confronta costantemente con diverse tipologie di confini: la labile soglia tra legale e illegale, l’eterna diatriba tra arte e non arte, la frontiera concettuale della linea. Elemento fondante di un graffito è infatti l’outline, la sottile definizione di un contorno, che è parte intergrante dell’opera, ma che si frappone tra l’indagine ingegneristica del lettering da cui salpa e il contesto urbano in cui drasticamente approda. L’Aerosol art, come spesso viene chiamata, nel tempo ha subito un aggiornamento tecnologico che non si è limitato all’accrescimento della precisione tecnica o alla migliore performanza degli spray.
Plotterflux è la realizzazione concreta della deriva mediale del writing. La contaminazione con gli altri linguaggi del visivo - il fotografico, il cinematografico, l’audiovisivo in genere - consente alla crew dei Bergamasterz (Verbo, Font, Hemo, Loathin e Alfa) di esibirsi in un live media che fonde su di un’unica superficie la materialità del colore con l’immaterialità della proiezione. Il percorso di apprendimento di un writer passa attraverso l’assimilazione di principi basilari: velocità, precisione, stile. Verbo, superato il training iniziale, conduce una ricerca sul medium che lo porta a contagiare esperienze apparentemente inconciliabili come il writing e il vjing. L’utilizzo della luce in luogo del colore (proiettori al posto delle bombolette) consente di apparire e scomparire ancora più velocemente senza lasciare traccia, almeno sui muri. La pre-produzione (elaborazione digitale, Software engineering) si sposa alla post-produzione (live mix video) ingaggiando una guerriglia di simboli, icone e segni che alberga temporaneamente in disparati contesti urbani.
La parola d’ordine è free style: libere associazioni di idee, indiscriminate sovrapposizioni di concetti, improvvise accelerazioni linguistiche e brusche frenate sintattiche. Le Video Incursioni rappresentano la summa di un percorso che è iniziato in strada e non può far altro che ritornare in strada. Perché la strada è il veicolo di una comunicazione pubblica, veloce e illimitata. Perché la strada è capace di accogliere, di essere portatrice sana di una democrazia reale. Perché la strada è cultura, e viceversa. (Claudio Musso)
Alice in Sunderland
In September 2009 we won the tender to produce the first two permanent outdoor projection artworks in the UK as part of Sunderland's ambitious Cultural Master-Plan.
Inspired by the discovery that Sunderland and it's environs had contributed to Lewis Carroll's vision of “Alice's Adventures in Wonderland”, the central theme of the two digital artworks on St Thomas Street is the inside of the White Rabbit's pocket watch. Local dancers appear amongst giant cogs and welders from industrial ship crane builders Liebherr to create the inner workings of the watch. The projection system, designed by us, works as a digital clock, triggered on the hour as part of an overall light and sound interactive installation spanning the entire street.
The installation was launched in September 2010 and is part of a complete face lift of St. Thomas Street that includes a commission by sound artist Bill Fontana, street lighting form Kapok, street furniture from Charlie Davidson. The project was initially curated by Ian Banks from Atoll. Supported by Sunniside Partnership, One NorthEast, Sunderland City Council, Sunderland arc and HCA.
http:www.sdna.tv
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
High power video projection image onto the Shell Building as part of the Mayor of London's New Years Eve Celebrations.
The images are 110m tall by 55m wide. Projection Design Ross Ashton for Jack Morton. Graphics Kate MacKay. Video inserts BBH. Event Sponsor: LG
Series of photographs taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2022
Alice in Sunderland
In September 2009 we won the tender to produce the first two permanent outdoor projection artworks in the UK as part of Sunderland's ambitious Cultural Master-Plan.
Inspired by the discovery that Sunderland and it's environs had contributed to Lewis Carroll's vision of “Alice's Adventures in Wonderland”, the central theme of the two digital artworks on St Thomas Street is the inside of the White Rabbit's pocket watch. Local dancers appear amongst giant cogs and welders from industrial ship crane builders Liebherr to create the inner workings of the watch. The projection system, designed by us, works as a digital clock, triggered on the hour as part of an overall light and sound interactive installation spanning the entire street.
The installation was launched in September 2010 and is part of a complete face lift of St. Thomas Street that includes a commission by sound artist Bill Fontana, street lighting form Kapok, street furniture from Charlie Davidson. The project was initially curated by Ian Banks from Atoll. Supported by Sunniside Partnership, One NorthEast, Sunderland City Council, Sunderland arc and HCA.
http:www.sdna.tv
Series of photographs made of two male and female models taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2016
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
Myself and 2 friends went out to Midland and did a test run of the live projection of drawing against a building.
Art by Chris Lawrence.
[All photos (c) Gary Parris]
Video projection by Spectacularies at the National Museum of Singapore, Bayan Tree during Singapore Night Festival 2019.
*A-MINT* is a metaphor of a sustainable future, where man and machines work together in perfect symbiosis to cross a frontier that man alone could not dare. *A-MINT* is a new kind of adaptive Artificial Music Intelligence, the first one of its kind capable to crack the improvisation code of any musician in real time and able to improvise with him. Creating music and video along the execution, without any preset pattern, pitch or bpm. A new organic and lively form of contemporary electronic music. The futuristic real-time electronic orchestrations, enhanced by the generative videoprojections, rewrite the rules of live electronic music, and plunge the audience into a unique experience, always different because of the impulses and interpretations of the Artificial Music Intelligence A-Mint, a trip in unknown and never explored before territories and boundaries, made of new sounds,technology, images, energy , sweat, heart and soul.
Credit: Jürgen Grünwald
Topographic interactive projection map is the central feature of the gallery space.
Exhibits at the Watershed Stewardship Center at Cleveland Metroparks West Creek Reservation, located in Parma, OH. Exhibits designed and built by Taylor Studios, Inc.
Image © Herb N. Byers, Jr.
Series of photographs made of two male and female models taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2016
Saruta Hiko no Mikoto, god of roads and access.
His long nose associates to Tengu imaging.
"Le Japon Illustré" at Girodet Museum.
Temporary exhibition of Japanese prints and objects (most of the city of Rouen collections), mixed in the Museum collections.
Alice in Sunderland
In September 2009 we won the tender to produce the first two permanent outdoor projection artworks in the UK as part of Sunderland's ambitious Cultural Master-Plan.
Inspired by the discovery that Sunderland and it's environs had contributed to Lewis Carroll's vision of “Alice's Adventures in Wonderland”, the central theme of the two digital artworks on St Thomas Street is the inside of the White Rabbit's pocket watch. Local dancers appear amongst giant cogs and welders from industrial ship crane builders Liebherr to create the inner workings of the watch. The projection system, designed by us, works as a digital clock, triggered on the hour as part of an overall light and sound interactive installation spanning the entire street.
The installation was launched in September 2010 and is part of a complete face lift of St. Thomas Street that includes a commission by sound artist Bill Fontana, street lighting form Kapok, street furniture from Charlie Davidson. The project was initially curated by Ian Banks from Atoll. Supported by Sunniside Partnership, One NorthEast, Sunderland City Council, Sunderland arc and HCA.
http:www.sdna.tv
Series of photographs made of two male and female models taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2016
*A-MINT* is a metaphor of a sustainable future, where man and machines work together in perfect symbiosis to cross a frontier that man alone could not dare. *A-MINT* is a new kind of adaptive Artificial Music Intelligence, the first one of its kind capable to crack the improvisation code of any musician in real time and able to improvise with him. Creating music and video along the execution, without any preset pattern, pitch or bpm. A new organic and lively form of contemporary electronic music. The futuristic real-time electronic orchestrations, enhanced by the generative videoprojections, rewrite the rules of live electronic music, and plunge the audience into a unique experience, always different because of the impulses and interpretations of the Artificial Music Intelligence A-Mint, a trip in unknown and never explored before territories and boundaries, made of new sounds,technology, images, energy , sweat, heart and soul.
Credit: Jürgen Grünwald
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
This is the Cambridge 800 event organised by 'Cambridge In America'. It was held at the Gotham Ballroom and was hosted by Sir David Frost. The main speaker was Stephen Fry. Music was supplied by the Choir of Clare College. As you can imagine it was a great evening. As I could not get the entire room into one photograph you will have to imagine that you are surrounded by video imagery on both walls of the room. Each projection was 20m x 6m.
This is an installation of Elliott Earls "Elegy for the Collapse of the Empire, Detroit Craft and Disentegration." at Cranbrook Museum during the "no Object is an Island" exhibition.
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.