Pixel Mapping isn’t projecting media content using a projector and firing it from the lighting console. The main brief of mapping is to turn your array of “simple” fixtures into a giant telly. The “screen” doesn’t have to be rectangular or even one complete surface – using pixel mapping, you could create some great effects with a long single strip of RGB LEDS or play a huge image across a number of different elements.
Interesting – when thinking the Collaborative Project….
The task of an artist, much like that of a scientist, is to re-combine or edit existing materials in order to create something new. Ideas are adapted, extended or improved upon based upon the needs and circumstances of the time. Every work of art contains a recognizable reference to another work and this can be traced historically throughout the development of the arts and sciences.
Connecting ideas together and merging multiple, unrelated ideas in new and creative ways require an ability to spot the potential for creative leaps.
Combining knowledge, synthesizing information and fitting things together that do not normally go together can lead to new perspectives on a subject. By fitting things together in unexpected ways that do not normally go together I am allowing for new things to happen.
G11 came to the aid of Grade 3 teachers today. Teachers wanted a provocation for their PYP unit on Peace and Conflict – a performed argument which would generate conversation and debate in the students who happened upon the piece of ‘invisible theatre’. The experience, and subsequent reading on Boal’s Invisible Theatre pieces in his book ‘Games for Actors and Non Actors’, began an interesting debate – how much can we rely on improvisation in Invisible Theatre? Boal’s position is – not a lot. He writes about the importance of working to a tight structure and carefully crafted script particularly when describing the piece for the Paris Metro. Is it responsible to go into a situation without careful planning and script writing? When do we know when to move away from the script and respond to our audience ‘off script’? Is the safety of actors and audience always carefully considered? Is the stuff we see in some of TV shows seen below examples of invisible theatre? I would like to argue that they are not – mainly because of their over reliance on improvisation, this means they no longer follow the conventions set out for the style of work Boal named ‘Invisible Theatre’.
So copying animals – what’s that about – apart from fun?
extract from: http://www.jstor.org – Actor Training in the Neutral Mask, Author(s): Sears A. Eldredge and Hollis W. Huston. Source: The Drama Review: TDR, Vol. 22, No. 4, Workshop Issue (Dec., 1978), pp. 19-28
Even the big guns do it: Here Jim Carey talks about how his character Ace Ventura the Pet Detective was inspired by a bird – and how he discovered a link between how he approached this role and Hopkins’ performance of Hannibal Lecter in ‘Silence of the Lambs’ – https://youtu.be/csaQbfhYuYQ?t=10m47s
Contemporary actors find themselves having to be extremely versatile physically – the work of motion capture performances I think demonstrate the very real value of Lecoq’s training for actor’s working now.