Video: Primera etapa. El vídeo en el contexto social y artístico de los años 60/ Book. Jan Laura Baigorri. “Escribir sobre el vídeo es. These installations were also called “video environments”, and they Kuleshov on Film Laura Baigorri:Video: primera etapa Rather than being. Laura Baigorri’s main focus is on Art and New Media. Baigorri combines her Primera etapa () and Vídeo en Latinoamérica. Una historia.
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Skip to main content. Log In Sign Up. Illustration and animation in theatre for children. It is a multidisciplinary project that combines dance, theatre, illustration and animation. The play making also counted on a team proceeding from different areas, leaded by Juan Pablo Mendiola.
This team is currently working on the creation of another play called Dot, that will be first shown in Valencia next November. Even though theatre has been accompanied by projection and cinematographic tricks since the first optical inventions, the present bqigorri offers a very profitable scene for multiskill work pointed to show creation, that allows to research into the possibilities of interaction between body and animation.
Thus, animation escapes from dtapa tradicional nature, looking for new creative goals, broadening its repertoire and discovering new platforms and media for its live enjoyment. This text will let us go into the creation and staging processes of a theatrical play, in which choreographic work, drama building and animation are intimately related and mutually reinforce each other.
Besides, primeraa technical questions that should be taken into account to deal with this kind of work, will be revealed. This is one of the first movies fully conceived with drawing to drawing animation techniques.
This proposal posessed some very special features that positioned this movie as an unavoidable international example. At these beginnings, animation and show were intimately linked. McCay himself, as many ehapa cartoonists, took part in some small vaudevilles called chalk talk, where the audience could listen to their discourses while enjoying their live drawing. He was wearing a smoking and held a whip in his hand. The screen was only showing a rock landscape picture.
After the order Be a good girl and bow to the audience, the animal took a bow in front of the public. She was the first cartoon character that showed her feelings and personality.
This was followed by a string of interactions held between the real and imaginary characters. McCay even offered to the dinosaur a fruit that became three-dimensional in the screen.
Finally, McCay himself disappeared from reality to enter fiction. The quality of the cartoon character animation was undeniable.
Besides, her creator had contributed to the animation process with some techniques that would be followed by many in the future. But the main contribution of McCay with this vaudeville was creating, without noticing it, the first interactive play. But, what drove McCay to propose such a staging project, even when animation basis were still not set? Winsor McCay was facing an art that was still unaware of its potential, and he did it without complexes or prejudices, with an instinctive abigorri sense, showing the most performative part, the essence of animation in a live show.
Illustration and animation in theatre for children | Beatriz Herraiz –
Very few have worked in real time and in body relationship animation. The cartoonist experiment expected to overstep the physical limits of the screen and, at the same time, the intangible boundary between fiction and reality, an extrasensory experiment that only got its thoroughful meaning on stage, at the moment of the acting. The seed of this technique planted by McCay one hundred years ago, is now picked up by cinema and media for offering to the public some new ways to experiment the cinema show.
Now it has been improved with 3d and corporeal perceptions, achieved by stereoscopy and by the contributions of the ludic videogame industry.
Both of them follow the trend of melting the boundaries between fiction and reality, and also transcending the screen limits. Both theatre, shyly, and performance, in an enthusiastic way, will follow the steps set by this multifaceted cartoonist, exploring the mentioned limits and creating scenic suggestions as original and creative as transgressive. Cinema has remained linked to theatre since its origins, through the mentioned optic tricks and projection techniques.
This old and tight relationship has indeed enriched both disciplines. Later, the czech Sloboda excelled in teatre staging, proposing esthetic and narrative solutions related to space, movement, time or light.
Many of the current scenic designs count on audiovisual resources that contribute to enrich the play-writing and offer to the public new extrasensory experiences. The animation technique allows plenty of possibilities, particularly if the targeted audience are children. Three months later took place the premiere of Consonant, performed by two dancers and actresses who entered the world of books through the magic of animation.
Maduixa Teatre, the company1. With the intention of growing and working new disciplines, the company strenghtened its main values: A resolute investment in this research work consolidated the group, defining its own language.
The fruit of this multiskill work definitely launched the company with the play Ras, that participated in most of the festivals in Spain, France, Italy and Norway, and toured significantly across France. Maintaining this interdisciplinary work line, they decide to turn visual, choreographic and plastic languages into a new expression vehicle for children in their new production, Consonant, in Staging Some technical, narrative and esthetic considerations have to be defined before starting one audiovisual design project intended for a show.
Steina i Woody Vasulka
Designers and cartoonists should gather as much informationas possible. All the features concerning to projector and screen distribution on stage, as well as drama questions, are crucial for the designer and cartoonist work.
Projection In theatre, there are different projection techniques, depending on the projectors and the resultant image locations. Besides, technique may vary depending on the nature of the projection surface, the screen. In general, is possible to project from the central part of the stage front projection.
If the projector is located at the back of the stage, it would be called a back projection. The screen is usually a smooth surface, built with fabric tightened over a frame, removable in order to assemble it easily. Occasionally it can be a volumetric surface, shaped in a simple geometry whose faces are mapped through the projection.
This technique is called video mapping3. We will not go deeper in this matter since it would require an extensive development. The screen can be made of fabric.
Depending on its density and the projection technique, different effects will be achieved. If it is opaque, the space will be completely limited by it, avoiding that anything located behind it can be seen.
However, if the fabric is transparent, it will be possible to suggest a sensation of two spaces completely different, by means of lighting and projection. In this case, if light comes exclusively from the front, the screen will be opaque from the audience. However, if it is lighted from the back and the characters are behind it, we will have a transparency effect, particularly suitable for unreal or magic scenes. The game between both spaces will provide effects with plenty of possibilities for the staging.
As well as these two kind of transparent or opaque fabrics, one translucent fabric could be used when back projection is required. The actors location also contributes to create different effects. If they are in front of the screen, the projection can fall on their bodies. However, since they would also project their own shadows onto the screen surface, the magic trick would be discovered.
If the screen is opaque, they can also place themselves behind it, although they could only be seen through a back light, then. This would also project their own shadows onto the screen, happening the interactionin this case, between those shadows and the projection. Locating the actors behind a transparent screen will achieve an effect of perfect inmersion of their figures into the image.
To obtain the isolation of any of the projected figures, an absolute black has to be achieved through an opaque black surface covering the bottom of the scene usually fabric. Two vertical opaque screens, one metre separated, were on stage. Both of them were made of a fabric specially suitable for back projection and white coloured, which grants the maximum reflection of light. The actresses interacted with the animated objects through their own shadows, obtained by means of a projector placed behind the screens.
Each staging will handle some determined requests, and will require different design adaptation to the sought-after kind of stage, theatre, screen or projection. Also animation and roaming will affect this design. Also the software used to launch a real-time video, or even budget, are factors that intervene in the technical design of the show.
The workflow, that must Fig 2. As we have mentioned before, back lwura was used for Consonant. The scenography was very simple. On stage there were only two pprimera screens 3 x primerz. Projectors were placed in vertical, behind the screens. The use of back projection meant that the stage required a space behind the screens. Animation, synchronization and final image The actors work took place in a stage fitted for that purpose, the set.
When the choreography of each act was over, a video was recorded and sent to the animators. The videos provided the animators with the location of the objects that were adjusted to the dancers movements. Once the piece was finished, the animators sent the result, from which the dancers adjusted again their movements for a perfect synchronization. Although the complete teapa offers a perfect interaction result, the work methods adjusted by hand the animation to spatial and temporal location of music and movement.
In addition, the animator had in his power the drawings of the baivorri Patricia Barrachina4, who was, at the same time, in a continuous connection with the stage director. These handmade drawings were scanned and separated into layers in order to make the animation easier. As we mentioned before, technical design and workflow are specific for each production. Technicians and animators can advise the direction team, but eventually is the stage director who will set the definite standards for the design.
The animator is an intermediate link in this assembly chain that should be well defined, not only in what concerns to workflow but also to timing. Esthetic and narrative adaptation to drama Once the work process is clear, design and animation teams start to work baigodri the choreographic work already done. This is not really an enclosed work, but instead a work in progress, in which mutual influences are continuous.
Synergy must flow between teams. On the one hand, primer real space, fruit of the personality of Paula, the elder sister, reasonable and responsible. On the other hand, the space resulting of the adventurer and fantastic spirit of Aina, the younger, marked by her imagination and creativity. Etaps stage, these two primrea corresponded to the areas in front and behind the screens, respectively. After going through many theories developed by specialists in stage direction, the use of audiovisuals in theatre can handle different purposes since the narrative point of view, by building spatial, temporal, or even emotional identities of the play.
According to Saltzthese functions or relationships between scenic arts and audiovisual media can be divided into: