Friday, December 16, 2011
Basic Theatre Design notes
Scene Design – scene design in theater is to create an environment conducive to the production’s ends. The scene designer uses the same tools of composition-line, form, mass, color, repetition and unity.
The scene must allow the actors to move.
Lighting Design- lighting designers must imagine what their lights will do to an actor, to a costume, to a set.
They must enhance the color of a costume, accent the physique of an actor, and reinforce the plasticity of a setting. They also try to reinforce the dramatic structure and dynamics of the play. They work within the frame work of light and shade. Without shadows and highlights, the human face and body become imperceptible.
Costume Design- works with the entire body of the actor. They design hair styles, and clothing and make-up to suite a specific purpose or occasion, a character, a locale.. A stage costume is an actor’s skin. It allows he/him to move.
a. Accents- it shows audience which personages are the most important in a scene, and it shows the relationship between personages.
b. Reflects – a particular era, time of the day, Climate, season, location or occasion
c. Reveals the style of the performance, the characters of the personages and the personages ' social position, profession, cleanliness, age, physique , health
Properties - is significant and symbolical in the play
a. Set props- furniture, rugs, accessories
b. Hand props – cigarettes, papers, glasses
Aural elements / Music – actor’s voice, background music, clashing of swords,. IT is something to do on how the production sounds- Musical piece creates harmonies, dynamics , rhythms and melodies..The director and the sound designer makes the production develop in an aural sense so the audience is put into the proper mood, drawn from the proper emotional direction and captures by the proper attention points.
The scene must allow the actors to move.
Lighting Design- lighting designers must imagine what their lights will do to an actor, to a costume, to a set.
They must enhance the color of a costume, accent the physique of an actor, and reinforce the plasticity of a setting. They also try to reinforce the dramatic structure and dynamics of the play. They work within the frame work of light and shade. Without shadows and highlights, the human face and body become imperceptible.
Costume Design- works with the entire body of the actor. They design hair styles, and clothing and make-up to suite a specific purpose or occasion, a character, a locale.. A stage costume is an actor’s skin. It allows he/him to move.
a. Accents- it shows audience which personages are the most important in a scene, and it shows the relationship between personages.
b. Reflects – a particular era, time of the day, Climate, season, location or occasion
c. Reveals the style of the performance, the characters of the personages and the personages ' social position, profession, cleanliness, age, physique , health
Properties - is significant and symbolical in the play
a. Set props- furniture, rugs, accessories
b. Hand props – cigarettes, papers, glasses
Aural elements / Music – actor’s voice, background music, clashing of swords,. IT is something to do on how the production sounds- Musical piece creates harmonies, dynamics , rhythms and melodies..The director and the sound designer makes the production develop in an aural sense so the audience is put into the proper mood, drawn from the proper emotional direction and captures by the proper attention points.
Sa pagitan ng kahapon at ngayon
“Sa pagitan ng kahapon at ngayon”
ni nonoy Narciso
revised March 23, 2008 Catalunan Grande
Panahon: gabi. Sa kwarto. Sa isang bayan. Dalawang matanda . Sila nalang dalawa ang naiwan sa bahay.. sa kanilang sariling bahay … ang mga anak nila’y nag-sarili narin.. at nag-asawa... isang panahon sa isang sulok.. sa isang takdang panahon...
Mga karakter:
Lola eneng :
tipikal na matanda….
ang damit duster, na may long sleeve na nakasapaw at may belo para sa lamig
Lolo Iniong:
tipikal na matanda
nka pajama. Naka sando t-shit sa loob at nakasapw ang polo.. suot ang salamin.. may dalang tungkod. May tuwalya sa balikat .
Una at huling tagpo
Lolo Iniong :
Unang maririnig ang plawta pagdaan ng 16 counts
papasok ang gitara ( am, dm , e hold x ….) 16 counts …
Nakapwesto na si lola eneng at lolo iniong sa gitna ng entablado.
Ilaw naka dimmer lights, spot light( yellow at blue) over the head ang ilaw
Pag – middle light na , tamang –tama Makita na ng tao ang mga nagsidula , umpisa na sa pagtimpla nga kape ni lola eneng..
Lola Eneng:(Nagtitimpla) ( ang gitara parang mga bulong… maririnig ang mga rainstick at percussion na buto)
INiong gumising ka na, magkape ka na.
Lolo Iniong: (babangon) O ba’t madilim, walang ilaw (uupo sa katre) . (Palingun – lingon sa paligid)
Lola Eneng: Sira ang generator ng bayan.
Lolo Iniong: Eh, kailan daw maayos?
Lola Eneng: May katagalan din, gaya ng dati
Lolo Iniong: (babangon mula higaan, at uupo din sa mismong higaan)
Malamig ang hangin. (iyayakap ang sarili) Tamang – tama mainit ang kape (lalakad patungo ng lamiseta, mahinag – mahina)
Lola Eneng: Nasasalamin ko ang kasaysayan ng ating paglalakbay, tingnan mo hindi matapus – tapos ang tinatahi ko, wala ng lakas ang mga kamay sa dilim (pagagalawin at titigan ang mga daliri) kay hirap gumalaw sa dilim ng liwanag.
Lolo Iniong: Hindi ka na nasanay (iinom ng kape may katagalan)
Eh ‘ di naman tayo ipinanganak sa liwanag ng makabago. Nagsusunog tayo ng apoy sa gabi (titigan ang lamparilya)
Lolo Eneng: Maaga tayong natutulog noon... at kay bata pa ng panahon (hihigop) subalit kay ikli na ng gabi sa bawat paglusaw ng kandila. Gayunman, palalim nang palalim ang gabi dahil sa mga panaginip.
Lolo Iniong: Malamang kung gaya ng dati... matitira at mababato ang mundo sa isang sulok. Parang abo ng lupa, maiisang tabi na lang tayo.
Lola Eneng: Ngayon, mas lubhang lumalalim ang gabi ng kasaysayan at lalong tumindi ang sinag ng kaunlaran.... makulay na kumukutitap ... sa hapag nga kaunlaran..
Lolo Iniong: Marahil, ganap na ang kanilang panahon. Binubuhay sila ng ilaw... Noo’y hawak natin ang oras... Eh, paano sa katandaan natin, kaunlara’y napapalagay sa huli !..bagama’t malakas man, nanghihina pa rin.
Lola Eneng: Kay ikli ng buhay habang pinagmamasdan ko ang ilaw. Nanghihina ang katawan ko. (uubo)
Lolo Iniong: Eneng, lumalala na ‘yang ubo mo. Diyan ka muna at kukuha ako ng tubig (kukuha ng tubig nang may medyo katagalan, e susustain ang gitara. Mas malaks konti,,mas malalim ang emosyon) Uminom ka, dahan – dahan lang.
Lola Eneng: Salamat sa Diyos, nararamdaman ko, nararamdaman ko na...
Lolo Iniong:
Magpahinga ka na.Ala una pasado na ng madaling araw
(kakamot at hihimasin ang noo) (sa ilang sandali lalapit sa kandilang may sindi lalapit at bubulong – bulong)
Mahina ka na rin... ganon din ako.. (ita-taas ang kaliwang kamay… dahan-dahang ipagagalaw ang mga kamay ilalap[at sa kandila… o palad ..kaedad mo na nga ang panahon.. kumukolubot… natutuyo. Makukupas, kumukupas…
Ang ilaw… nakakasilaw ang ilaw … ang liwanag sa gabi… ang tanging liwanag sa sulok…
gayunpama’y.... tanaw ko pa rin ang liwanag.. mga naglalarong kulay... lumalagablab na kulay...nasusunog na ala-ala… nawawalay..
subalit huwag kang mag – alala... mananatili ang apoy...ang mga usok kakapit sa bubong… sa kurtina.. sa paligid… o sa ala-ala ...
ang apoy ng kahapon... magaganap ang magaganap... masakit.... (sa dibdib) (hihinga nang malalim)
O ilaw... Sino ka nga ba...
O liwanag sino ka nga ba...
Sino ba talaga ang liwanag (papatayin ang liwanag)
(Lights Off) patuloy ang rain stick…
ni nonoy Narciso
revised March 23, 2008 Catalunan Grande
Panahon: gabi. Sa kwarto. Sa isang bayan. Dalawang matanda . Sila nalang dalawa ang naiwan sa bahay.. sa kanilang sariling bahay … ang mga anak nila’y nag-sarili narin.. at nag-asawa... isang panahon sa isang sulok.. sa isang takdang panahon...
Mga karakter:
Lola eneng :
tipikal na matanda….
ang damit duster, na may long sleeve na nakasapaw at may belo para sa lamig
Lolo Iniong:
tipikal na matanda
nka pajama. Naka sando t-shit sa loob at nakasapw ang polo.. suot ang salamin.. may dalang tungkod. May tuwalya sa balikat .
Una at huling tagpo
Lolo Iniong :
Unang maririnig ang plawta pagdaan ng 16 counts
papasok ang gitara ( am, dm , e hold x ….) 16 counts …
Nakapwesto na si lola eneng at lolo iniong sa gitna ng entablado.
Ilaw naka dimmer lights, spot light( yellow at blue) over the head ang ilaw
Pag – middle light na , tamang –tama Makita na ng tao ang mga nagsidula , umpisa na sa pagtimpla nga kape ni lola eneng..
Lola Eneng:(Nagtitimpla) ( ang gitara parang mga bulong… maririnig ang mga rainstick at percussion na buto)
INiong gumising ka na, magkape ka na.
Lolo Iniong: (babangon) O ba’t madilim, walang ilaw (uupo sa katre) . (Palingun – lingon sa paligid)
Lola Eneng: Sira ang generator ng bayan.
Lolo Iniong: Eh, kailan daw maayos?
Lola Eneng: May katagalan din, gaya ng dati
Lolo Iniong: (babangon mula higaan, at uupo din sa mismong higaan)
Malamig ang hangin. (iyayakap ang sarili) Tamang – tama mainit ang kape (lalakad patungo ng lamiseta, mahinag – mahina)
Lola Eneng: Nasasalamin ko ang kasaysayan ng ating paglalakbay, tingnan mo hindi matapus – tapos ang tinatahi ko, wala ng lakas ang mga kamay sa dilim (pagagalawin at titigan ang mga daliri) kay hirap gumalaw sa dilim ng liwanag.
Lolo Iniong: Hindi ka na nasanay (iinom ng kape may katagalan)
Eh ‘ di naman tayo ipinanganak sa liwanag ng makabago. Nagsusunog tayo ng apoy sa gabi (titigan ang lamparilya)
Lolo Eneng: Maaga tayong natutulog noon... at kay bata pa ng panahon (hihigop) subalit kay ikli na ng gabi sa bawat paglusaw ng kandila. Gayunman, palalim nang palalim ang gabi dahil sa mga panaginip.
Lolo Iniong: Malamang kung gaya ng dati... matitira at mababato ang mundo sa isang sulok. Parang abo ng lupa, maiisang tabi na lang tayo.
Lola Eneng: Ngayon, mas lubhang lumalalim ang gabi ng kasaysayan at lalong tumindi ang sinag ng kaunlaran.... makulay na kumukutitap ... sa hapag nga kaunlaran..
Lolo Iniong: Marahil, ganap na ang kanilang panahon. Binubuhay sila ng ilaw... Noo’y hawak natin ang oras... Eh, paano sa katandaan natin, kaunlara’y napapalagay sa huli !..bagama’t malakas man, nanghihina pa rin.
Lola Eneng: Kay ikli ng buhay habang pinagmamasdan ko ang ilaw. Nanghihina ang katawan ko. (uubo)
Lolo Iniong: Eneng, lumalala na ‘yang ubo mo. Diyan ka muna at kukuha ako ng tubig (kukuha ng tubig nang may medyo katagalan, e susustain ang gitara. Mas malaks konti,,mas malalim ang emosyon) Uminom ka, dahan – dahan lang.
Lola Eneng: Salamat sa Diyos, nararamdaman ko, nararamdaman ko na...
Lolo Iniong:
Magpahinga ka na.Ala una pasado na ng madaling araw
(kakamot at hihimasin ang noo) (sa ilang sandali lalapit sa kandilang may sindi lalapit at bubulong – bulong)
Mahina ka na rin... ganon din ako.. (ita-taas ang kaliwang kamay… dahan-dahang ipagagalaw ang mga kamay ilalap[at sa kandila… o palad ..kaedad mo na nga ang panahon.. kumukolubot… natutuyo. Makukupas, kumukupas…
Ang ilaw… nakakasilaw ang ilaw … ang liwanag sa gabi… ang tanging liwanag sa sulok…
gayunpama’y.... tanaw ko pa rin ang liwanag.. mga naglalarong kulay... lumalagablab na kulay...nasusunog na ala-ala… nawawalay..
subalit huwag kang mag – alala... mananatili ang apoy...ang mga usok kakapit sa bubong… sa kurtina.. sa paligid… o sa ala-ala ...
ang apoy ng kahapon... magaganap ang magaganap... masakit.... (sa dibdib) (hihinga nang malalim)
O ilaw... Sino ka nga ba...
O liwanag sino ka nga ba...
Sino ba talaga ang liwanag (papatayin ang liwanag)
(Lights Off) patuloy ang rain stick…
affetive memory/improvisation technique- Lee Starsberg
Performer’s (imagery and Action) Concept and Technique
Lee Strasberg (November 17, 1901 – February 17, 1982) was an American actor, director,
Improvisation and "affective memory"
- affective memory technique focuses the actor on remembering a situation I all of its vivid, sensory details, which evokes a rich nexus of images , then facilitates a feeling response ; this build directly on thaw actor’s practice in concentrating or physical and internal objects.
- teaching at the Actors Studio Strasberg explained the importance of improvisation and the central concept of "affective memory:" the "process of contacting one’s memories of emotions in order to channel them into a role." Affective memory originated with Stanislavski, was nurtured by Richard Boleslavski, Strasberg’s teacher at the American Laboratory Theatre in the 1920s, and was further refined by Strasberg. Acting historian Jeremy Butler writes, "Strasberg divides "affective memory" into the recall of sensations (sights, sounds, smells, and so on) and that of feelings (horror, sadness, pleasure, and so on.) The actor, he explains, uses the former, his or her sense memory, to stimulate the latter, his or her emotional memory, which can then be used in the context of a particular character." The Method, Strasberg states, is "the procedure by which the actor can use his "affective memory" to create a reality on stage."
-
- According to Don Bigsby, in The Cambridge History of American Theatre, "Strasberg was a scientist of acting, fascinated by the mysteries of the actor’s quest for true emotion. And in a technique called affective memory, … Strasberg believed he had found a reliable aid for achieving it. … What Strasberg prized about the technique was that the actor would be using true emotion – his own reawakened real-life feelings – to color and deepen his performance. . . Maintaining that the technique was the surest way of achieving the style of psychological realism the Group was searching for, Strasberg placed it as the foundation of his work."
-
- The purpose of "affective memory" is to release emotions on stage. Strasberg states:
- "The basic idea of affective memory is not emotional recall but that the actor’s emotion on the stage should never be really real. It always should be only remembered emotion. An emotion that happens right now spontaneously is out of control – you don’t know what’s going to happen from it, and the actor can’t always maintain and repeat it. Remembered emotion is something that the actor can create and repeat: without that the thing is hectic."
-
For Strasberg, affective memory is the basic element of the actor’s reality. In particular, it draws out the emotions from the past that are ingrained in one’s mind and body:
- "The emotional value of the experience may have changed. However, by attempting a lot of affective memories, the actor gradually obtains a stock of memories that are permanent and become easier to invoke as he continues to use them. … The significance lies in the fact that the actor becomes emotionally available, prepared to respond instantly and expressively with feelings and passions."
Note: Evaluation ( Acting performance: Dress as if your skin/ Object and body interaction / How to utilize the object in drawing out development of acting/character)
Lee Strasberg (November 17, 1901 – February 17, 1982) was an American actor, director,
Improvisation and "affective memory"
- affective memory technique focuses the actor on remembering a situation I all of its vivid, sensory details, which evokes a rich nexus of images , then facilitates a feeling response ; this build directly on thaw actor’s practice in concentrating or physical and internal objects.
- teaching at the Actors Studio Strasberg explained the importance of improvisation and the central concept of "affective memory:" the "process of contacting one’s memories of emotions in order to channel them into a role." Affective memory originated with Stanislavski, was nurtured by Richard Boleslavski, Strasberg’s teacher at the American Laboratory Theatre in the 1920s, and was further refined by Strasberg. Acting historian Jeremy Butler writes, "Strasberg divides "affective memory" into the recall of sensations (sights, sounds, smells, and so on) and that of feelings (horror, sadness, pleasure, and so on.) The actor, he explains, uses the former, his or her sense memory, to stimulate the latter, his or her emotional memory, which can then be used in the context of a particular character." The Method, Strasberg states, is "the procedure by which the actor can use his "affective memory" to create a reality on stage."
-
- According to Don Bigsby, in The Cambridge History of American Theatre, "Strasberg was a scientist of acting, fascinated by the mysteries of the actor’s quest for true emotion. And in a technique called affective memory, … Strasberg believed he had found a reliable aid for achieving it. … What Strasberg prized about the technique was that the actor would be using true emotion – his own reawakened real-life feelings – to color and deepen his performance. . . Maintaining that the technique was the surest way of achieving the style of psychological realism the Group was searching for, Strasberg placed it as the foundation of his work."
-
- The purpose of "affective memory" is to release emotions on stage. Strasberg states:
- "The basic idea of affective memory is not emotional recall but that the actor’s emotion on the stage should never be really real. It always should be only remembered emotion. An emotion that happens right now spontaneously is out of control – you don’t know what’s going to happen from it, and the actor can’t always maintain and repeat it. Remembered emotion is something that the actor can create and repeat: without that the thing is hectic."
-
For Strasberg, affective memory is the basic element of the actor’s reality. In particular, it draws out the emotions from the past that are ingrained in one’s mind and body:
- "The emotional value of the experience may have changed. However, by attempting a lot of affective memories, the actor gradually obtains a stock of memories that are permanent and become easier to invoke as he continues to use them. … The significance lies in the fact that the actor becomes emotionally available, prepared to respond instantly and expressively with feelings and passions."
Note: Evaluation ( Acting performance: Dress as if your skin/ Object and body interaction / How to utilize the object in drawing out development of acting/character)
Stanislavski's Method
Performer’s (Imagery and Action) Concept and Technique
Constantin Sergeievich Alekseiev
January 5, 1863(1863-01-05) Died August 7, 1938 (aged 75)
Moscow, USSR / Occupation Theatre director • Actor • / Theatre theorist /Founder of the Moscow Art Theatre
Influences: Meiningen Ensemble • André Antoine • Russian formalism • Yoga • Ivan Pavlov • Théodule-Armand Ribot • Alexander Pushkin • Nikolai Gogol • Leo Tolstoy • Mikhail Shchepkin • Anton Chekhov • Vissarion Belinski • Maurice Maeterlinck
Stanislavsky (Alexeyev) wasn't an artist, but a craftsman. His method is not an invention but a discovery of what was used from the beginning of time. "Psychological realism" makes sense because only feelings are the reality. The only material I, the spectator, can use -- my own feelings, memories, experiences. So, Stanislavsky advises actor to do the same.
System
– is a means of manipulating levels of consciousness to achieve certain specific effects on the body especially the illusion of spontaneity
– Process of adaptation is continuers
– That an “inner dialogue” runs with in us without interception- a stream of consciousness sustained and constantly redirected by subconscious impulses and sensory stimuli;
– Thus the life that the actor attempts to emulate by “: Living the role.”
Perezhivanie – living/experiencing/living through/experiencing through
2 Principles:
1. The actor has to draw on all of her/his experiences in creating a role
2. Breaking down a rule into a series of units that chart the character’s movement
3 parts/levels: Stanislavski concepts.
1. Emotional
2. Recall
3. Suppression.
Constantin Sergeievich Alekseiev
January 5, 1863(1863-01-05) Died August 7, 1938 (aged 75)
Moscow, USSR / Occupation Theatre director • Actor • / Theatre theorist /Founder of the Moscow Art Theatre
Influences: Meiningen Ensemble • André Antoine • Russian formalism • Yoga • Ivan Pavlov • Théodule-Armand Ribot • Alexander Pushkin • Nikolai Gogol • Leo Tolstoy • Mikhail Shchepkin • Anton Chekhov • Vissarion Belinski • Maurice Maeterlinck
Stanislavsky (Alexeyev) wasn't an artist, but a craftsman. His method is not an invention but a discovery of what was used from the beginning of time. "Psychological realism" makes sense because only feelings are the reality. The only material I, the spectator, can use -- my own feelings, memories, experiences. So, Stanislavsky advises actor to do the same.
System
– is a means of manipulating levels of consciousness to achieve certain specific effects on the body especially the illusion of spontaneity
– Process of adaptation is continuers
– That an “inner dialogue” runs with in us without interception- a stream of consciousness sustained and constantly redirected by subconscious impulses and sensory stimuli;
– Thus the life that the actor attempts to emulate by “: Living the role.”
Perezhivanie – living/experiencing/living through/experiencing through
2 Principles:
1. The actor has to draw on all of her/his experiences in creating a role
2. Breaking down a rule into a series of units that chart the character’s movement
3 parts/levels: Stanislavski concepts.
1. Emotional
2. Recall
3. Suppression.
Thursday, December 15, 2011
MeyerholdTechnique
Performer’s (imagery and action) Concept and Technique
Vsevolod Emilevich Meyerhold
(10 February [O.S. 28 January] 1874 — 2 February 1940?)
Vsevolod Emilevich Meyerhold- was a Russian director, actor and producer whose provocative experiments dealing with physical being and symbolism in an unconventional theatre setting made him one of the seminal forces in modern theatre.
Concept:
1. Raccourci – instantaneous expressive movement
2 Requirements:
3. innate capacity fro reflex excitability enable to cope with physical characterization
4. physical competence- sense of balance , the ability to sense at any given movement the location of his/her center of gravity
2. Biomechanics – a technique for achieving maximum physical and mental preparedness and responsiveness
3. Taylorism(Winslow Taylor- 1911) an approach to breaking down manufacturing processes into assembly line tasks based on studies of labor efficiency- actors use of motion.
Technique:
Meyerhold's acting technique had fundamental principles at odds with the American method actor's conception. Where method acting melded the character with the actor's own personal memories to create the character’s internal motivation, Meyerhold connected psychological and physiological processes and focused on learning gestures and movements as a way of expressing emotion outwardly. Following Stanislavski's lead, he argued that the emotional state of an actor was inextricably linked to his physical state (and vice versa), and that one could call up emotions in performance by practicing and assuming poses, gestures, and movements. He developed a number of body expressions that his actors would use to portray specific emotions and characters.
Note:
Sample- Training and directing
- Object: action –reaction
Vsevolod Emilevich Meyerhold
(10 February [O.S. 28 January] 1874 — 2 February 1940?)
Vsevolod Emilevich Meyerhold- was a Russian director, actor and producer whose provocative experiments dealing with physical being and symbolism in an unconventional theatre setting made him one of the seminal forces in modern theatre.
Concept:
1. Raccourci – instantaneous expressive movement
2 Requirements:
3. innate capacity fro reflex excitability enable to cope with physical characterization
4. physical competence- sense of balance , the ability to sense at any given movement the location of his/her center of gravity
2. Biomechanics – a technique for achieving maximum physical and mental preparedness and responsiveness
3. Taylorism(Winslow Taylor- 1911) an approach to breaking down manufacturing processes into assembly line tasks based on studies of labor efficiency- actors use of motion.
Technique:
Meyerhold's acting technique had fundamental principles at odds with the American method actor's conception. Where method acting melded the character with the actor's own personal memories to create the character’s internal motivation, Meyerhold connected psychological and physiological processes and focused on learning gestures and movements as a way of expressing emotion outwardly. Following Stanislavski's lead, he argued that the emotional state of an actor was inextricably linked to his physical state (and vice versa), and that one could call up emotions in performance by practicing and assuming poses, gestures, and movements. He developed a number of body expressions that his actors would use to portray specific emotions and characters.
Note:
Sample- Training and directing
- Object: action –reaction
soundscape activity
Soundscape
1. SOundscape is a sound installation project
2. SOundscape means imaging/recording sound by the used of any recording technology (cassette, DVD, CD, MP3, etc.)
3. SOundscape activity is a supplementary and preparatory activity for performance
4. it aims to develop the ability of the performer in observation, documentation and recording
5. it enhances their ability in organizing minuet details, human sound, environment, machine, interaction ,etc.
6. editing is necessary to enhance and emphasize important imagery while cut the unnecessary noise,
7. This activity was inspired on the following concepts;
8. According to Amy Lowel (1874-1925) “If Art is the desire of a man to express himself, to record the reactions of the personality to the world he lives on the artworks are concrete manifestations of knowledge towards the Self, Others and God. It is an alternative way in dealing with peace in relation to Self, Others and God.” The activity was an attempt document imagery of the environment were he/she came from to be able to discern to what extent does this experience elevate or direct the artists in art production or imagery.
9. On the other hand, this activity is an act of soul-making or crafting images; it is transforming real experience into sound art. And this perspective will become a “viewpoint toward things” .So; this act of Soul-Making situates the individual in the midst of the world.” It does not seek a way out of or beyond the world towards redemption or mystical transcendence (Hillman 1983). Creating imagery or a metaphor. Creating a new story of a changing environment.
10. Participant must consider the following; organization and arrangement of sound, clarity and emphasis or the theme of the sound installation and the story it can project.
11. The Format of recording can be any equipment or any file. Works must undergo critiquing before it will be installed or exhibited. A brief artist’s statement/ concept is necessary for analysis and consistency and honesty of documentation.
Noy narciso 2011
1. SOundscape is a sound installation project
2. SOundscape means imaging/recording sound by the used of any recording technology (cassette, DVD, CD, MP3, etc.)
3. SOundscape activity is a supplementary and preparatory activity for performance
4. it aims to develop the ability of the performer in observation, documentation and recording
5. it enhances their ability in organizing minuet details, human sound, environment, machine, interaction ,etc.
6. editing is necessary to enhance and emphasize important imagery while cut the unnecessary noise,
7. This activity was inspired on the following concepts;
8. According to Amy Lowel (1874-1925) “If Art is the desire of a man to express himself, to record the reactions of the personality to the world he lives on the artworks are concrete manifestations of knowledge towards the Self, Others and God. It is an alternative way in dealing with peace in relation to Self, Others and God.” The activity was an attempt document imagery of the environment were he/she came from to be able to discern to what extent does this experience elevate or direct the artists in art production or imagery.
9. On the other hand, this activity is an act of soul-making or crafting images; it is transforming real experience into sound art. And this perspective will become a “viewpoint toward things” .So; this act of Soul-Making situates the individual in the midst of the world.” It does not seek a way out of or beyond the world towards redemption or mystical transcendence (Hillman 1983). Creating imagery or a metaphor. Creating a new story of a changing environment.
10. Participant must consider the following; organization and arrangement of sound, clarity and emphasis or the theme of the sound installation and the story it can project.
11. The Format of recording can be any equipment or any file. Works must undergo critiquing before it will be installed or exhibited. A brief artist’s statement/ concept is necessary for analysis and consistency and honesty of documentation.
Noy narciso 2011
space definition
THERE'S NO RULE IN STAGE DESIGN
BUT ALWAYS CONSIDER, STORY,AUDIENCE AND BUDGET( AVAILABILITY OF MATERIALS/RESOURCES)
stage
noun (plural stag·es)
1. area in theater: the area in a theater where a performance takes place, especially a platform on which actors perform a play
2. dramatic profession: the profession of acting, drama, or the theater
3. platform: a raised platform where speeches are made and ceremonies are carried out, e.g. in a hall or auditorium
4. period or step during process: a step, level, or period in the development or progress of something
The project is still in its early stages.
5. setting in which something happens: the scene of an event or series of events
The summit marks her first appearance on the world stage.
6. significant phase: an important phase of cultural, economic, or social development
7. part of journey: a distinct section of a journey, especially one after which a stop is made
8. aerospace detachable rocket unit: a separable unit of a rocket or spacecraft that contains fuel and can be jettisoned after the fuel is exhausted
9. construction platform for workers: a raised platform, especially a scaffolding for workers during the construction of a building
10. transportation Same as stagecoach
11. food industry platform for drying food: a platform used to dry fish or meat
12. recording Same as sound stage
13. biology period of development of organism: a distinct period of development in the life of an organism when its form is different from earlier or later periods
14. measurements elevation of river surface: a measure of how much the surface of a river or stream rises above a given point
15. science platform for mounting microscopic specimen: the small platform of an optical microscope on which a specimen is placed for examination
16. geology period of rock strata: a relatively short geologic distinct period, a subdivision of a series, during which rock strata are deposited
17. electricity unit of electrical components: a group of components that form part of an electronic or electrical system
transitive verb (past and past participle staged, present participle stag·ing, 3rd person present singular stag·es)
1. organize performance for public: to put on a play, concert, exhibition, or similar event for an audience
2. organize event: to organize or carry out something such as an event that will attract attention or publicity
3. set play in place or time: to set a play in a particular place or time
staged the drama in the Regency period
4. medicine classify phases of disease: to classify the progress of a disease
[13th century. < Old French estage < Latin stat-, past participle of stare "stand"]
-stage·a·bil·i·ty [stàyjə bíllətee], noun
-stage·a·ble [stáyjəb'l], adjective
-stage·a·bly, adverb
by or in easy stages in an unhurried undemanding way
on stage performing in something, especially as an actor
set the stage (for something) to make the preparations or produce the conditions necessary for something to happen or begin
take center stage to draw people's or public attention
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