Towson University Dept. of Electronic Media and Film (EMF)’s Post

So, I was waiting until the official publication date, 25th July, to post this - but since it sounds like they're getting out there early (thanks to Anthony Arblaster for the tip-off): I'm delighted to announce that 'Theatre Lighting Design: Conversations on the Art, Craft and Life', the book that I've been working on with friend and fellow lighting designer Emma Chapman for the last (unbelievably!) five years, is about to be published, and is certainly available to order now direct from its publisher, Methuen-Bloomsbury, or other places you buy books. It's a simple premise: fourteen lighting designers just talking about what they do, then a fifteenth interview with the wider lighting team who made, looked after and now re-make 'Billy Elliot' around the world. But it's quite a powerhouse of designers: Neil Austin, Natasha Chivers, Jon Clark, Paule Constable, Rick Fisher, Rich Howell, Howard Hudson, Jessica Hung Han Yun, Mark Jonathan, Amy Mae, Ben Ormerod, Bruno Poet, Jackie Shemesh and Johanna Town. Just think of the huge range of experience gathered together here, which they have been so generous in sharing. All are fascinating. It's quite fascinating when they agree with each other. It's REALLY fascinating when they disagree! Taken together its a powerful reminder there are few 'rights' or 'wrongs' in lighting, more that it's about having ideas, trusting your instincts and then having the skill and experience - much of which just comes with practice - to deliver those ideas to the stage. And yes, the title does pay homage to Richard Pilbrow's lighting book. That's deliberate, because in many ways these interviews are the next generations of lighting designers talking about the next generation of experiences, tools and technology from those Richard featured. We thank all of the lighting designers who were part of this. We hope you find it as fascinating as we have, whether lighting is what you do or theatre is what you're interested in. You can get a sneak preview here: https://lnkd.in/erYmYmQw You can order direct from the publisher here: UK: https://lnkd.in/ey8ByuHW US: https://lnkd.in/eFZZMkuM

Curtain Design & The Importance of Curtain in Theater Stages In the fascinating world of theater art, curtain design is one of the critical elements that determine the atmosphere of the stage. Acts play an important role in conveying the emotional tone, time period, and even location of the play to the audience. In this article, we will discuss how critical curtain design is on theater stages and its contribution to the general aesthetics of the stage. The Role of Curtain Design in Aesthetics and Communication: The theater curtain gets the chance to impress the audience at the first glance of the scene. The choice of colours, patterns, textures and the shape of the screen are a powerful tool in conveying the atmosphere and theme of the play to the audience. For example, a dark curtain can create a dramatic and mysterious atmosphere, while bright colors and patterns can express a more cheerful or humorous tone. Expression of Time and Space: Screen design also provides important clues about the time and place in which the play takes place. A play depicting a retrospective event can be supported with a curtain decorated with nostalgic colors and classical patterns. Details in curtain design are of great importance to express changes in space. For example, natural color tones and tree patterns can be used to portray a forest scene. Light Plays and Curtain: Curtain design, combined with light plays, strengthens the atmosphere on the stage. With the right lighting, details on the screen can be emphasized and the viewer can be emotionally affected. The curtain, combined with lighting effects, can make the dramatic moments of the play more impressive. Importance of Curtain: The main reason why the curtain is so important on theater stages is that it supports the narrative of the play by providing a visual experience to the audience. The curtain is the audience's gateway to the world on stage and makes them feel the atmosphere of the play. Curtain design on theater stages plays an effective role in the success of a play. A properly chosen and designed curtain draws the audience into the play and contributes to the narrative of the scene. #Theater #Art #CurtainDesign #StageArts #Aesthetics #DramaticArts

How long do artist-run spaces last? I've been looking back at A-N's Artist-Led Hot 100 from 2013, as research for a piece I'm working on: https://lnkd.in/exYTnc9N I remember how thrilled we were at Two Queens to be included in this list after being open for only a year, it felt like an important first piece of recognition and validation, that our work fitted into a national scene of other artists trying to make ambitious projects happen. By my count, 64 of the 100 projects listed on the Hot 100 are now closed or no longer active. Not all projects were brick and mortar operations, but its a fair bet that where those who occupied buildings are no longer doing so, issues with rent, property and leases played a significant factor in their demise. Artist-run projects are precarious by nature - they tend to burn bright and burn out fast, and for the handful that have made it to 10 or 20+ years in operation there are so many more that fall by the wayside. I've never seen a proper longitudinal study done on artist run spaces in the UK, asking how long they last, and why they close. The Hot 100 and its 2017 version give us a data set to work with, and if I can find time, I might do some more work on gathering insights and headline stats like the average lifespan of spaces, but for now the headline from this snapshot study is a 64% closure rate over an 11 year time span. If the project to buy Two Queens succeeds, it can possibly provide a template for other artist run spaces to overcome precarity, by buying freeholds and becoming more sustainable operations. Watch this space to see how that goes!

How is a feeling of world produced through staged material cultures? What if 'empty space' is not the starting point for scenography? These questions are the throughline for my new article 'Pluriversal scenographics and staging world feelings' in Cultural Geographies. You can also read it for free (open access). Influenced by Global South epistemologies, it argues how scenographic practices stage 'possible reals' and what this means for a renewed political task for scenography. It also maps the argument against 'empty space' scenographics and the technique of the void (or voiding) in theatre making as (un)intentionally reinforcing colonial spatial imaginaries. Empty space is a colonial concept. I offer pluriversal scenographics as one way of investigating the worlding narratives of the Global North and the spatial politics this produces. This is also my first time publishing in a cultural geography context, and it has been super useful to test these ideas with a new audience in mind. I really do appreciate all the guidance from the peer reviewers and editors. Read for free here: https://lnkd.in/dVgKaAQn

Luz Maestra: Robert Wilson. Last week, I took part in a webinar by Robert Wilson, at the invitation of Studio Sophya Acosta in Barcelona. He gave an immersive presentation on his ideas regarding the use of light in theatre, illustrating with drawings, "To make real blackness I have to use light; the more light, the blacker the black." He explained, "Light is essential to darkness," and by lighting his finger he made it into an actor. These are principles he uses during his scenographies, where light is the starting point. He sees light as a construction of time and space: as an endless path to the unknown. In line with this, I wander through public space with my light-sensitive walks. Here, the connection between the day-night cycle and everyday well-being is central. Participants experience the dynamics of the environment at different times of the day, understand how the cycle affects the mood and functionality of an area, as well as their interaction with the space. Through light, or its absence, one recognises the spaciousness and comprehensiveness of the environment or as Robert Wilson says: "Without light, there is no space". Sophya Acosta, #art, #light, #publicspace, #lightsensitivewalks

https://lnkd.in/dbDfcaGe Watch a Majestic Concert Hall Rise With the Music in This Cool Animation. The project is based on the study of architecture and music. The design focuses on how to take the inspiration from the intangible music and present it in the tangible architectural space. The design ultimately combines the two through “tension”, a force that is prevalent in both architecture and music. https://lnkd.in/d83j6F-8

Check out this link by Art World Articles | Artnet News

📚 Get started on your Learning goals for 2024 with Lindsay Knowler! Next week is shape and colour 🌈 #eatyourpeas

The brief for the studio... "everything should strike inspiration". With this in mind, we've created an entire floor-to-ceiling dramatic art wall, from traditional paintings to a balloon dog doing a poop. The styles are all different but they're united by our brand colours so they work in harmony together, a bit like the Against Ordinary team. Some will call it a distraction from deadlines, but it's not procrastination if you're appreciating art, right? #studioupdate #notanotheroffice #creativestudio #creativeagency #advertisingagency #creativity

80% of art galleries are not proper art galleries. Why would I even say that? And where did I get the number? I bring it up because when the substitute we settle for passes as a gallery, there’s a community-wide lowering of standards that hurts artists and devalues the ecosystem. Managing a gallery is a massive marketing operation involving PR, promotion, negotiation, very low risk aversion, a deep knowledge of the art market, and deep contacts in both the curators and collectors sides. Beyond injecting millions into the local economy, a proper local art market will create a destination, bring curators and collectors, be a window for the town in the world’s top art market platforms, think Venice, Miami, Basel… So let’s stop pandering to half-baked “art gallery” concepts and go talk to a few good curators who can help set up a proper local art market. Start small, then grow. Become an instant hit gradually, then suddenly 😉