Medea / Jan Maertens - Revision history

Rlg at 16:00, 21 December 2022

2022-12-21T16:00:43Z

← Older revision		Revision as of 16:00, 21 December 2022
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	* (technical) proportions and compatibility		* (technical) proportions and compatibility
	[[File:FlowerRiggingConstruction.jpg\|~~left~~\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]**having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):		**[[File:FlowerRiggingConstruction.jpg\|thumb\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):
	*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...		*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...
	*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)		*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)

Rlg at 16:00, 21 December 2022

2022-12-21T16:00:02Z

← Older revision		Revision as of 16:00, 21 December 2022
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	* (technical) proportions and compatibility		* (technical) proportions and compatibility
	**[[File:FlowerRiggingConstruction.jpg\|~~thumb~~\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):		[[File:FlowerRiggingConstruction.jpg\|left\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]**having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):
	*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...		*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...
	*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)		*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)

Rlg at 15:58, 21 December 2022

2022-12-21T15:58:52Z

← Older revision		Revision as of 15:58, 21 December 2022
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	* (technical) proportions and compatibility		* (technical) proportions and compatibility
	~~<BR>~~[[File:FlowerRiggingConstruction.jpg\|~~left~~\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]		**[[File:FlowerRiggingConstruction.jpg\|thumb\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):
	<BR>**having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):
	*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...		*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...
	*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)		*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)
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	*** when applying a randomly focussed chaotic wash to the floor, i try to use a mixture of suggestive colour impressions (Lee 702/708/747) in order to overcome the harsh colour contrast while blending more or less the flower with the floor in a lively but unifying landscape.... now let's see how the performers will look like in this light:-)		*** when applying a randomly focussed chaotic wash to the floor, i try to use a mixture of suggestive colour impressions (Lee 702/708/747) in order to overcome the harsh colour contrast while blending more or less the flower with the floor in a lively but unifying landscape.... now let's see how the performers will look like in this light:-)
	*** It is clear that all halogene light used here will need some kind of spectral correction, adding red and/or taking out green... or is it only the eyes of a light designer that cannot deal with oddly balanced quality of light(reflection)		*** It is clear that all halogene light used here will need some kind of spectral correction, adding red and/or taking out green... or is it only the eyes of a light designer that cannot deal with oddly balanced quality of light(reflection)















	=== Incentives towards a preliminary light design ===		=== Incentives towards a preliminary light design ===

Rlg: /* A first technical week in the theater: meeting the set */

2022-12-21T15:56:42Z

A first technical week in the theater: meeting the set

← Older revision		Revision as of 15:56, 21 December 2022
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	* (technical) proportions and compatibility		* (technical) proportions and compatibility
	[[File:FlowerRiggingConstruction.jpg\|left\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]**having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):		<BR>[[File:FlowerRiggingConstruction.jpg\|left\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]
			<BR>**having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):
	*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...		*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...
	*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)		*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)
Line 31:		Line 32:
	*** when applying a randomly focussed chaotic wash to the floor, i try to use a mixture of suggestive colour impressions (Lee 702/708/747) in order to overcome the harsh colour contrast while blending more or less the flower with the floor in a lively but unifying landscape.... now let's see how the performers will look like in this light:-)		*** when applying a randomly focussed chaotic wash to the floor, i try to use a mixture of suggestive colour impressions (Lee 702/708/747) in order to overcome the harsh colour contrast while blending more or less the flower with the floor in a lively but unifying landscape.... now let's see how the performers will look like in this light:-)
	*** It is clear that all halogene light used here will need some kind of spectral correction, adding red and/or taking out green... or is it only the eyes of a light designer that cannot deal with oddly balanced quality of light(reflection)		*** It is clear that all halogene light used here will need some kind of spectral correction, adding red and/or taking out green... or is it only the eyes of a light designer that cannot deal with oddly balanced quality of light(reflection)















	=== Incentives towards a preliminary light design ===		=== Incentives towards a preliminary light design ===

Rlg at 15:55, 21 December 2022

2022-12-21T15:55:08Z

← Older revision		Revision as of 15:55, 21 December 2022
Line 19:		Line 19:

	* (technical) proportions and compatibility		* (technical) proportions and compatibility
	**[[File:FlowerRiggingConstruction.jpg\|left\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):		[[File:FlowerRiggingConstruction.jpg\|left\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]**having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):
	*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...		*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...
	*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)		*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)

Rlg at 15:53, 21 December 2022

2022-12-21T15:53:59Z

← Older revision		Revision as of 15:53, 21 December 2022
Line 19:		Line 19:

	* (technical) proportions and compatibility		* (technical) proportions and compatibility
	**[[File:FlowerRiggingConstruction.jpg\|~~thumb~~\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):		**[[File:FlowerRiggingConstruction.jpg\|left\|233x233px\|a disproportional? attempt to visually emphasise the set construction]]having to give up light-rigging/focussing potentialities for a vast part of the technical ceiling in favour of set/construction ideas often leads to frustration... albeit not seldom leading to creative solutions. But what here initially is thought out as a conceptional idea to visually mark the hanging of the set (= giant standing flower-on-strings) literally comes, in my opinion, a little out of proportion (see image):
	*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...		*** a massive steel construction frame of 3by3m is installed just about 1m below rigging height, holding thin rigging ropes while emphasising the set-on-a-wire idea... be it there's strings for only 25% of its surface...
	*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)		*** I can understand the conceptual set-logic of implementing/lighting(through) this structure on/from a more operatic dimension, but working with nearly 1m distance for the lights hardly holds potentialities ... nor visually (boldly lighting (through) the frame), nor conceptually (imagining a minor pendant of the stage up in the air when it doesn't have any breathing space/height around), nor functionally (projecting the raster of the frame on the surface/objects/performers being lit-through)

Rlg at 11:47, 20 January 2022

2022-01-20T11:47:50Z

@@ Line 8: / Line 8: @@
 === Preliminary thoughts ===
-* Some restrictive issues for an all too extensive/specialised light design: the performance will need to be able to tour without any additional set up day and in a variety of theater dimensions  / technical overhead (the Flemish CC's).
+* Some restrictive issues for an all too elaborate/specialised light design: the performance will need to be able to tour without any additional set up day and in a variety of theater dimensions  / technical overhead (the Flemish CC's).
 * As text will be very reduced, if at all present, and the narrative intensions will be taken over by the bodily presence/expression of a rather large group of performers (9 pax on a 10/10m performing area), i feel the light might, maybe even more than ever , need to take the role of the directing/focussing/zooming agent/camera for the audience.
 * I feel a particular tension installing itself when looking ahead towards a holistic light design:
@@ Line 72: / Line 72: @@
 === A second technical week in the theatre: meeting the performers meeting the set & light ===
 == Observations & Feedback ==

Rlg at 17:01, 16 January 2022

2022-01-16T17:01:25Z

← Older revision		Revision as of 17:01, 16 January 2022
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	** The idea of a vast lanscape comes back regularly in working discussions, referring to Müllers "Landscape with Argonauts" and resulting in the pretty open set design consisting of a back drop / overall floor cover + a set of matching sheets and textiles / a standing giant flower at a back corner		** The idea of a vast lanscape comes back regularly in working discussions, referring to Müllers "Landscape with Argonauts" and resulting in the pretty open set design consisting of a back drop / overall floor cover + a set of matching sheets and textiles / a standing giant flower at a back corner
	** The wish to isolate/accentuate movement stills of a group of performers in a particular bold and directional light composition, referring to Caravaggio paintings, has been expressed often while rehearsing in the studio (with low winter sunlight breaking in:-)		** The wish to isolate/accentuate movement stills of a group of performers in a particular bold and directional light composition, referring to Caravaggio paintings, has been expressed often while rehearsing in the studio (with low winter sunlight breaking in:-)
	** Given this in the rather basic technical frame (a 10/10/6m box with an audience pretty much upfront), i feel i will never be able to support purely one of the above "guides" without having to break ~~all~~ promises towards the other... hoping to find a intrinsic voice for the light to overcome a unique serving role to or the landscape visuals or dramatic bodily compositions - or worse, constantly having to compromise in both directions.		** Given this in the rather basic technical frame (a 10/10/6m box with an audience pretty much upfront), i feel i will never be able to support purely one of the above "guides" without having to break promises towards the other... hoping to find a intrinsic voice for the light to overcome a unique serving role to or the landscape visuals or dramatic bodily compositions - or worse, constantly having to compromise in both directions.

	=== A first technical week in the theater: meeting the set ===		=== A first technical week in the theater: meeting the set ===
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	Hoping to be able to fully address some potentialities of stage lighting for suggestive visual perspective and interactive context while letting loose an all too common instant technical soothe for naturalist visual framing/wrapping up of a series of isolated stage(d) pictures…		Hoping to be able to fully address some potentialities of stage lighting for suggestive visual perspective and interactive context while letting loose an all too common instant technical soothe for naturalist visual framing/wrapping up of a series of isolated stage(d) pictures…


			=== A second technical week in the theatre: meeting the performers meeting the set & light ===
			Due to circumstances,

	== Observations & Feedback ==		== Observations & Feedback ==

Rlg: /* Incentives towards a preliminary light design */

2022-01-11T21:04:41Z

Incentives towards a preliminary light design

← Older revision		Revision as of 21:04, 11 January 2022
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	(high)lighting specific actors/actions within an ensemble of 9 performers that are constantly present on an open but confined stage area will ask for a rather conceptual approach than a series of ad hoc organisations towards specific staged moments.		(high)lighting specific actors/actions within an ensemble of 9 performers that are constantly present on an open but confined stage area will ask for a rather conceptual approach than a series of ad hoc organisations towards specific staged moments.

	Therefor i will suggest - to start with for at least a first stage-rehearsal period - a chaotically focussed multi-directional top light wash in some variety of colour tone (see above remark on the colour quality of the set): all stage area will receive a local directional focus that is different in direction and colour-tone towards its direct vicinity. Doing so, i hope to be able to consistently give the necessary focus towards the spatiality of (non)actions and this in a gradient over the totality of the lanscape and with the necessary variety … hoping to hold strong over the total duration of the performance. The more, when using ~~the totality of~~ this multidirectional plot, i hope to find a satisfyingly high-lit ''landscape with argonauts''.		Therefor i will suggest - to start with for at least a first stage-rehearsal period - a chaotically focussed multi-directional top light wash in some variety of colour tone (see above remark on the colour quality of the set): all stage area will receive a local directional focus that is different in direction and colour-tone towards its direct vicinity. Doing so, i hope to be able to consistently give the necessary focus towards the spatiality of (non)actions and this in a gradient over the totality of the lanscape and with the necessary variety … hoping to hold strong over the total duration of the performance. The more, when using this multidirectional plot equivalently in its totality, i hope to find a satisfyingly high-lit ''landscape with argonauts''.

Rlg at 21:01, 11 January 2022

2022-01-11T21:01:14Z

← Older revision		Revision as of 21:01, 11 January 2022
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	* (simple) quality of light		* (simple) quality of light
	** [[File:MedeaSetOW.jpg\|thumb\|SetView in open white halogene atmpsphere]]Understanding the set (=floor and giant flower) as a conceptual unity, it is hard/harsh to not meet them in a full spectral light universe (see pictures)		**[[File:MedeaSetOW.jpg\|thumb\|SetView in open white halogene atmpsphere]][[File:MedeaSetMixTop.jpg\|thumb\|SetView in Mixed suggestive colour impressions]]Understanding the set (=floor and giant flower) as a conceptual unity, it is hard/harsh to not meet them in a full spectral light universe (see pictures)
	*** when applying just open white, and for the worse CTB corrected halogene light, i realise the very green colour-quality of the floor contrasting very much with the much more red colour-quality flower. Hard to realise them to make part of a unifying landscape		*** when applying just open white, and for the worse CTB corrected halogene light, i realise the very green colour-quality of the floor contrasting very much with the much more red colour-quality flower. Hard to realise them to make part of a unifying landscape
	*** when applying open fluorescent tube light, things start to look a little better when using the extremes in the available colour temperature gradient (3000°K and 8000°K)		*** when applying open fluorescent tube light, things start to look a little better when using the extremes in the available colour temperature gradient (3000°K and 8000°K)
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	[[File:MedeaSetMixTop.jpg\|thumb\|SetView in Mixed suggestive colour impressions]]