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Dreamed apparatus – a digression from the circle. Colours. We worked on the reflection of light on sand, and continued investigating direct interactions between light, sound and performer. This time with Uli Ertl as sound designer and partner in crime in the interactive machinery. We made switches on the floor which, when stepped on, would trigger a light and a sound jukebox which was the stage. Lights and sounds could in this way be operated from on stage. This helped me understand the advantage of the position all the way at the back, behind the audience: you actually get to see what you create. |
Dreamed apparatus – a digression from the circle. Colours. We worked on the reflection of light on sand, and continued investigating direct interactions between light, sound and performer. This time with Uli Ertl as sound designer and partner in crime in the interactive machinery. We made switches on the floor which, when stepped on, would trigger a light and a sound jukebox which was the stage. Lights and sounds could in this way be operated from on stage. This helped me understand the advantage of the position all the way at the back, behind the audience: you actually get to see what you create. |
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[[https://issuu.com/publicinprivate2020/docs/12yearspublicinprivate/130]] |
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Revision as of 15:27, 15 April 2021
Dreamed Apparatus
Dreamed apparatus – a digression from the circle. Colours. We worked on the reflection of light on sand, and continued investigating direct interactions between light, sound and performer. This time with Uli Ertl as sound designer and partner in crime in the interactive machinery. We made switches on the floor which, when stepped on, would trigger a light and a sound jukebox which was the stage. Lights and sounds could in this way be operated from on stage. This helped me understand the advantage of the position all the way at the back, behind the audience: you actually get to see what you create.