Joan's model for FluxWagon - O Best Beloved's mobile & modular outdoor performance stage.
Tuesday, February 25, 2014
We were using four projectors, often running distinct videos from one super intense Power Mac, and I created some four-camera 3D animation as well as a few 2D elements, did a lot of post-work in AfterEffects, and designed the "light painting" interactive element using Isadora.
Here are some shots, with accompanying links. Enjoy.
|Rami Margon, Lawrence Radecker and Michele Leavy, with 3D piping. From Lily Janiak's article.|
|Rami, with more piping. From the Kickstarter page.|
|Michele painting with light (thanks, Isadora). From George Heymont's review.|
Tuesday, January 21, 2014
This evening is Day 4 of a five-day training intensive with Double Edge Theatre, hosted by foolsFURY and held at SOMArts.
Jeremy's final notes are posted in the dressing room there. I am not sure which is my favorite; they're all so good. Maybe "turn left always."
Monday, December 9, 2013
I've been cooking up some recipes for performances in public spaces.
This project is likely to have many incarnations, but for now I'll focus on one:
A series of performances in neighborhood parks, created specifically for each site, that highlight the intersection of community, shared experience and shared space in each park.
As an early step in creating this series, I've drafted a series of Recipe Cards that form the beginnings of a Public Performance Cookbook. I'll use the Cookbook to create individual performances for each site with ingredients cultivated or foraged from observation, interactions, and performance workshops taking place at each site. I hope that its recipes and guidelines can help me and my collaborators create striking, poetic performances with less time spent off-site in the studio and more time spent creatively engaged in the public (performance) space.
Through the MOOC I've been taking, Practice-Based Research in the Arts, I've been able to lay a very robust groundwork for these pieces: I've articulated the context in which I place this work, the theoretical and aesthetic questions I intend to engage through it, a variety of creative methods I'll employ, and a critical rubric by which I intend to evaluate the work. The course has also helped me identify new potential formats for my work in public spaces, including ways to structure development work as part of my artistic output.
Via this series of neighborhood park performances, I'll examine how the shared experience of the performance event impacts the relationship of audience members to each other and to the space itself; and how these performances can be a welcome (if unexpected) gift to the neighborhoods in which they're created. The content of each performance will center on and be drawn from my investigations into the phenomena of shared experience and community located in each specific shared space.
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For this park in particular, I will create a Custom Performance Lemonade Stand, partly inspired by the actual lemonade stands set up by neighborhood children in the blocks surrounding the park. It's ironic that Noe Valley, the neighborhood surrounding the park, is known for being a predominantly white, upper-middle-class, family-centric neighborhood... and lemonade stands in this context are not only quaint, but somewhat indicative of the race/class/safety privileges that the neighborhood enjoys. It is my hope that more lemonade stands create more connections amongst neighbors, as well as access points for visitors to the neighborhood itself.
A couple weeks ago, I was able to workshop the Custom Performance Lemonade Stand format with fellow theatre artists during a day-long studio session. I had thirty minutes to introduce and create the Lemonade stand, which I did according to the following outline:
|Custom Performance Lemonade Stand - workshop outline|
Lemonade Stand Performance No. 1 from Rebecca L on Vimeo.
- Both performers and 'customer' participated in the free-write and meditative content-generating steps. This helped the performers and the 'customer' feel more connected to each others' stories and 'responsible' for them. This feature may be difficult to replicate in a more public version of the Lemonade Stand, but was a satisfying part of this exercise.
- The performers were trained in similar and complimentary styles of physical theatre that helped them work easily together and be aware of interacting with each other and the content during the improvisation. The recipes in my Cookbook lend themselves to use by performers who are familiar with each other and with working in compositional structures for ensemble-based theatre.
- The 'customers' each chose a method of recording the performance that they kept for themselves. I believe this takeaway adds to the structure of the 'customer' role to help the performance feel like a gift.
- Each performer was 'responsible' for a certain aspect of the performance: choosing the playing space, integrating text, or integrating movement. While any performer could (and did) work with any element of the piece, each was empowered to make more significant creative decisions within certain realms.
Updates as I have them...
Summary of relevant links:
- Recipe Cards: the Cookbook itself
- Photo tour of the first site: Noe Courts Park
- Video from the Custom Performance Lemonade Stand workshop
- My critical questions for examining the work I'll concoct in public parks, using my Cookbook
- Project node at Studio-West: I'd hoped to link to more research and background materials here, but find the platform very cumbersome...
Tuesday, October 29, 2013
"We’ve learned to talk about marketing as though it were community engagement. And now we are challenged to add innovation to the list of empty phrases to live by."
"Artists innovate every day, because what they make, they make up. How do they innovate? Trial and error, mostly, boring hours alone or with other artists. Years facing their own limitations. The real work of innovation is theirs, alone or together. It is organic and ongoing, one bold or tentative foot in front of another. Try to find funding in innovation-land for persistent effort and incremental breakthrough."
There’s another crusty word out there: leadership. If art is led by artists, why is the leader label applied mostly to us administrators? What would it mean to let them lead? How can we reimagine—innovate if we must—a way forward in which artists curate work, determine who gets funded, and choose the place that will house their work, rather than the other way around.