Träumerei des Verschwindens - Revision history

BrunoPocheron: /* The lighting designer's own description */

2022-02-10T17:01:29Z

The lighting designer's own description

← Older revision		Revision as of 17:01, 10 February 2022
Line 51:		Line 51:
	== The lighting designer's own description ==		== The lighting designer's own description ==

	Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for ~~its~~ ~~equivalent~~ in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while giving them some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''		Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity, the continuous flow of the choreography and movement material called for their equivalents in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while giving them some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''

	''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''		''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''
Line 57:		Line 57:
	''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''		''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''

	''I programmed only one cue for the whole show, namely the audience light going down.'' ''Apart from that, I controlled the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix, following, or counterbalancing the movement of the dancers, working with the music, or creating counterpoints."''		''I programmed only one cue for the whole show, namely the audience light going down.'' ''Apart from that, I controlled the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix, following, or counterbalancing the movement of the dancers, working with the music, or creating counterpoints to it.''






	==Links==		==Links==

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T22:06:02Z

The lighting designer's own description

← Older revision		Revision as of 22:06, 9 February 2022
Line 57:		Line 57:
	''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''		''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''

	''I programmed only one cue for the whole show, namely the audience light going down.'' ''Apart from that, I ~~control~~ the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix, following, or counterbalancing the movement of the dancers, working with the music, or creating counterpoints."''		''I programmed only one cue for the whole show, namely the audience light going down.'' ''Apart from that, I controlled the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix, following, or counterbalancing the movement of the dancers, working with the music, or creating counterpoints."''

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T21:53:46Z

The lighting designer's own description

← Older revision		Revision as of 21:53, 9 February 2022
Line 51:		Line 51:
	== The lighting designer's own description ==		== The lighting designer's own description ==

	Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for its ~~pendant~~ in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while giving them some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''		Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for its equivalent in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while giving them some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''

	''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''		''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T19:33:29Z

The lighting designer's own description

← Older revision		Revision as of 19:33, 9 February 2022
Line 51:		Line 51:
	== The lighting designer's own description ==		== The lighting designer's own description ==

	Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for its pendant in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while ~~providing~~ them ~~with~~ some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''		Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for its pendant in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while giving them some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''

	''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''		''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T19:31:21Z

The lighting designer's own description

← Older revision		Revision as of 19:31, 9 February 2022
Line 57:		Line 57:
	''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''		''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''

	''I programmed only one cue for the whole show, namely the audience light going down.'' ''Apart from that, I control the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix."''		''I programmed only one cue for the whole show, namely the audience light going down.'' ''Apart from that, I control the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix, following, or counterbalancing the movement of the dancers, working with the music, or creating counterpoints."''

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T19:29:41Z

The lighting designer's own description

← Older revision		Revision as of 19:29, 9 February 2022
Line 57:		Line 57:
	''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''		''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''

	''I programmed only one cue for the whole show, namely the audience light going down.'' ''~~During~~ ~~the~~ ~~show~~, I control the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix."''		''I programmed only one cue for the whole show, namely the audience light going down.'' ''Apart from that, I control the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix."''

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T19:29:06Z

The lighting designer's own description

← Older revision		Revision as of 19:29, 9 February 2022
Line 57:		Line 57:
	''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''		''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''

	''I programmed only one cue for the whole show, namely the audience light going down.'' ''During the show, I control the ~~whole~~ light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix."''		''I programmed only one cue for the whole show, namely the audience light going down.'' ''During the show, I control the light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix."''

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T19:27:12Z

The lighting designer's own description

← Older revision		Revision as of 19:27, 9 February 2022
Line 55:		Line 55:
	''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''		''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''

			''To support that in lighting, I opted for the following set up: a cluster of 63 Pars concentrated on a grid space of about 8m x 8m, so quite tight together, upstage right, patched solo, focused as a diagonal back wash on the whole stage, filtered with lee 603 (moonlight white). As a counterpoint to the Pars cluster, 3 Fresnels 5 Kw, positioned over the last row of the audience, front of house left, focused as a diagonal front wash on the whole stage, filtered with lee 708 (cool lavender).''
	''To support that in lighting, I opted for the following set up:''

			''I programmed only one cue for the whole show, namely the audience light going down.'' ''During the show, I control the whole light manually, with a few faders and mainly a touchscreen interface controlling the Pars as a matrix."''

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T19:10:26Z

The lighting designer's own description

← Older revision		Revision as of 19:10, 9 February 2022
Line 53:		Line 53:
	Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for its pendant in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while providing them with some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''		Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for its pendant in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while providing them with some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''

	''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, ~~mostly by~~ making genders literally imperceptible by ways of choreographic choices.''		''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, making genders literally imperceptible by ways of choreographic choices.''

	''To support that in lighting, I opted for the following set up:''		''To support that in lighting, I opted for the following set up:''

BrunoPocheron: /* The lighting designer's own description */

2022-02-09T19:09:35Z

The lighting designer's own description

← Older revision		Revision as of 19:09, 9 February 2022
Line 51:		Line 51:
	== The lighting designer's own description ==		== The lighting designer's own description ==

	Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for its pendant in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, ~~and~~ ~~still had to provide~~ them with some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''		Bruno Pocheron: ''" When I started to attend rehearsals of the first iteration of the Lina's project, back in 2015, it quickly became clear to me that the intricate simplicity of the choreography and movement material called for its pendant in terms of lighting. It was also evident to me that my light had to provide a strong, weather like, unpredictable environment to the five naked bodies evolving sometimes entangled, sometimes lonely on stage, while providing them with some sort of protection, by outlining and highlighting the dancers bodies, without ever exposing them in a crude or obvious way.''

	''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, mostly by making genders literally imperceptible by ways of choreographic choices.''		''In my perception, Träumerei des Verschwindens is a very sensual piece that celebrates the human body without emphasis on sexuality, it is a piece that questions genders and shows their fluidity without resorting to discourse, just by blurring the perceptions of the spectator and setting aside any affirmation of gender, mostly by making genders literally imperceptible by ways of choreographic choices.''