Instinctually it seemed the chance fading out.
But what you think turn up so much different to reality, now and then. It involved a constant effort to achieved what you believe.
When you initiate to carried out something that you believe, ‘believe’ itself is the Enormous Energy to accomplish it.
Its a Way of Being..
Posted: January 8th, 2012
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's p r i t e s' 2013
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Kadek Krishna Adidharma
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Menulis itu karena ada ‘Dialog’ dalam Dirinya.. (Wrote on BB chat by Dea Aulia WidyaEvan, Friday, January 6th 2012)
Live – I Alone
Terinspirasi pada saat ‘terluka’ oleh film dokumentasi ‘Sprites by Martin Ball’ yang ditayangkan oleh BBC Knowledge akhir November 2011 lalu, Gagasan yang muncul darinya terus mengikuti dan berkelebat-kelebat di pikiran. Tidak sekalipun memudar walaupun kewajiban –kewajiban professional mengisi pikiran dan hati. Dia seperti sebuah bayangan. Menggerakkan keinginan untuk membaginya –satu persatu dengan hati-hati serta was-was- pada individu-individu yang sekiranya akan sejalan (yang seharusnya terpesona terlebih dahulu oleh tayangan itu) dengan APA, BAGAIMANA, KENAPA, SIAPA, DIMANA, KAPAN ‘sprites’ itu sendiri.
Tidak Mudah, namun juga terkadang sangat mudah.
Illusive?
Jauh dari rasa skeptical, Idea tersebut terus bergulir, mungkin digerakkan oleh obsesi atau Energi dari Idea atau apalah. Satu persatu ‘SIAPA’ mulai teracuni, dengan sadar dan juga melalui perlawanan-perlawanan. Perlawanan yang sekaligus menguatkan sebenarnya, entah kenapa bisa begitu. Beberapa juga bereaksi dengan diam dan mulai melihat dari sudut mata, atau sambil mengerjakan hal-hal lain yang seperlunya dapat dilakukan untuk mengalihkan pembicaraan.
Seperti batang-batang pohon Gamal bila ditancapkan saja ke tanah, individu-individu yang ‘teracuni’ mulai menebar daun bergradasi, membangun akar-akar yang menghasilkan SIAPA, sosok-sosok baru didalam kamus sosialita berkesenian. Mereka seperti jendela-jendela baru yang dengan dahsyat menghadirkan ‘Dunia’ baru yang tidak tertampakkan. Membangun semacam Self Brainstorming, menghasilkan konklusi-konklusi acak dan terkadang samar, yang mengarahkan pada Pencarian, akan jawaban atau pembenaran-pembenaran tentang APA, BAGAIMANA DAN KENAPA.
Exogenesis: Symphony Pt 3: Redemption Muse The Resistance Album
Intuitive Illusive?
Kreatifitas dalam Seni itu melakukan, berbuat, menciptakan, menghadirkan. Bukan dibicarakan dan membicarakan.
Gagasan tidak akan berbuah Kreatifitas kalau tidak diwujudkan. Jadi pertanyaan yang timbul kemudian adalah Bagaimana CARA mewujudkannya. CARA akan melibatkan Pelaku, Alat, Media, Tempat, Waktu dan, AKAL. Dan ini mulai memasuki alam Pemikiran, satu sisi lain dari otak kita yang akan bekerja untuk ‘mengadakan’ CARA itu dengan didasari oleh RASA dari tujuan berkreatifitas.
(Tulisan ini menjadi bias setelah tadi sempat hadir dalam acara Pertemuan antara Gubernur Bali Mangku Pastika dengan sejumlah Seniman Bali, yang digalang oleh teman-teman di DOK (Dapur Olah Kreative). Dihadiri juga oleh lebih banyak seniman Bali di Warung Trisni Denpasar, entah apa yang dibicarakan dan diharapkan untuk dihasilkan. Nampak hadir sejumlah nama-nama besar di Bali seperti Rio Helmi, Putu Suasta, Kadek Jango, beberapa orang berpakaian sama dengan bertuliskan label ‘galang kangin’ didadanya, banyak juga yang berambut panjang memutih hampir ada disetiap sudut. Tidak ada energi lagi untuk menlanjutkan tulisan ini)
DemoCrazy?
Posted: January 7th, 2012
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's p r i t e s' 2013,
my words
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Received wednesday@11.33AM January 4th 2012
Amazingly beautiful.
Scary, but stunning..
How something with such unbelievable magnitude that have been around forever could remain hidden, unseen by man. makes our existence as humans just like specs of dustwhen compared to what actually exists around us.
Often we only can/want to partially see and/or believe. only a piece of the whole picture.
Sandrina Malakiano, comments to ’sprites by Martin Ball’ courtesy of youtube
foto: dokumentasi tempo.co
And I convinced, she will contribute wholeheartedly her Precious Artistic Shopistications, to the Gig, to Art, to Bali…
Posted: January 5th, 2012
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's p r i t e s' 2013
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Sandrina Malakiano
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Lake View, Kintamani
30.12.2011
Rencana berminggu-minggu untuk dapat ‘bertemu’ KKA, ‘the Most Wanted Person 2011’ dengan cara bermalam sekaligus melewati pergantian tahun di Lake View, Kintamani, tidak berakhir sesuai dengan apa yang sebelumnya saya bayangkan akan menjadi mudah. Dia sedang berada di Sicilia.
Sebuah rencana yang naif, namun disatu sisi logika saya telah bersiap akan kemungkinan yang terjadi, dan saya meyukai sensasinya. Seperti menemui ruangan yang ternyata Kosong, memberikan dorongan untuk mengisinya dengan sesuatu yang memiliki Nilai sesetara yang kita cari walaupun bukan menjadi penggantinya.
Kecewa? bukan. Hanya memperpanjang waktu penantian.
Entah kenapa saya ingin membuat ‘pertemuan’ itu agar seperti sesuatu yang tidak direncanakan, namun kemudian akan menghasilkan pembicaraan yang mengarah pada tujuan saya, mencari Author yang tepat untuk ‘sprites’. Appointment akan membuat pembicaraan menjadi ‘serius’ dan secara psikologis akan membatasi keleluasaan pengekpresian imaginasi.
Bertemu dengan Trishna Newson -KKA’s sister- ternyata juga memberikan dimensi baru didalam ‘ruang kosong’ hari itu.
ps. Saya ingat pernah bertemu sekali dengannya, di Bale Timbang -Penatih, saat makan siang bersama Yudane, mungkin 2 tahun lalu. Bertemu lagi memberikan pemahaman lebih jelas akan sosoknya dan setelah 5 menit of ramah-tamah dia menyela “Tunggu sebentar ya.. saya mau ke atas dulu, mau bantu dorong mobil mogok…. “. Heeeehhh?
31.12.2011 – Pagi
Yudane. Kopi. Rokok. Kertas sketsa. Bentang kaldera, Danau dan Gunung Batur. Pergerakan kabut menghasilkan panorama yang sama sekali tidak statis, memicu pikiran dan imaginasi.
saya mulai menggoreskan ‘pencarian berhari-hari’ akan irama penyajian ‘sprites’. Rentang waktu ‘sprites’ selama 3 bulan harus didasari oleh konsep pengaliran program yang berdasar, tidak akan menjadi mudah dan akan sangat dekat dengan hambar.
Satu pertanyaan saya pada Yudane, tentang sequence yang umumnya dipakai didalam penulisan komposisi Music Classic mengerucut pada komposisi yang dipakai pada tembang gamelan klasik Bali dan menjadi cetusan Sequence bagi ‘sprites’.
JAJAR PAGEH, panduan komposisi pada Tabuh Gamelan Bali klasik yang tidak tertulis secara teory, namun secara intuitif (?) umum dipergunakan oleh komposer Tradisional Bali.
Seperti menemui ruangan yang ternyata Kosong, memberikan dorongan untuk mengisinya dengan sesuatu yang memiliki Nilai sesetara yang kita cari walaupun bukan menjadi penggantinya…
Ssesuatu yang harus dan akan kita dalami lagi, untuk menghasilkan komposisi sempurna untuk ‘sprites’. Yudane berjanji untuk menuliskan Komposisi Program Guideline bagi ‘sprites’, Yeeahh!
Satu nama lagi muncul, Hayday! Siapa dia?
1.1.2012 – New Year!
Terima kasih Lake View, terima kasih Trishna Newson… (Jeg jaen san Nasi Kuning ‘revival’ Tahun Barune…)
A Lil’ research:
Secara filosifis, tabuh sebagaimana diuraikan dalam prekempa (Bandem, 1986:65) bait ke 36 ada disebutkan:
”Iti pretyakaning tabuh. Tabuh kang inaran tata ing buh. Tata ngaran prawerti. Prawerti ngaran kasusilan, susila ngaran sesana mwang penglaksana. Apan wiwiting hana wyaktinya sangkaning tiga, apan Sang Hyang Tri Wisesa angadakaken salwiring tumuwuh mwang salwiring maurip. Iti hana Sang Hyang Buh loka yaika sangkaning payoganira Sang Hyang Tri Wisesa kang gumawe utpeti, sthiti pralina….”.
Artinya:
”…Inilah keterangan dari susunan tabuh. Tabuh berasal dari tata dan buh. Tata yang disebut prawerti, prawerti artinya kesusilaan, susila yang berarti sesana danpelaksana. Karena asal mula yang sebenarnya berasal dari tiga, karena Sang Hyang Tri Wisesa yang mengadakan segala yang tumbuh dan segala yang berjiwa…”
Dari uraian tersebut dapat dicermati bahwa tabuh mengandung pemaknaan yang cukup dalam mengenai ajaran tata susila serta konsepsi tentang kelahiran, kehidupan dan kematian yang merupakan siklus kehidupan manusia di dunia. Di dalam konteks seni karawitan, tabuh diuraikan sebagai suatu bentuk komposisi karawitan yang disajikan melalui media seperangkat gamelan Bali baik intrumentalia dan sebagai musik pengiring tari, drama, prosesi dan sebagainya (Kamus Bali-Indonesia (1978:555).
Di lain pihak, I Nyoman Rembang (1984/1985:8-9) secara spesifik memberikan penjelasan bahwa tabuh bila dilihat sebagai suatu estetika teknik penampilan adalah hasil kemampuan seniman mencapai keseimbangan permainan dalam mewujudkan suatu repertoir hingga sesuai dengan jiwa, rasa dan tujuan komposisi. Sedangkan, tabuh sebagai suatu bentuk komposisi, juga dapat diartikan sebagai kerangka dasar gending-gending lelambatan tradisional Misalnya tabuh pisan, tabuh dua, tabuh telu, tabuh pat dan sebagainya.
Sebagaimana yang dikatakan Rembang (1984:11), dalam hal komposisi, gending tabuh telu dapat dibagi menjadi dua macam bentuk yaitu tabuh bentuk tunggal dan bentuk ganda. Bentuk tunggal yang dimaksud adalah komposisi tabuh telu yang memiliki struktur pengawit dan pengawak, dimana bagian pengawaknya itu dimainkan secara berulang-ulang (berputar), dari permulaan sampai berakhir dan tidak pernah berganti melodi. Sedangkan tabuh telu ganda di dalam strukturnya terdiri dari pengawit pengisep, pengawak dan pekaad. Dalam penyajiannya bagian pengisep dengan melodi yang lebih pendek dimainkan secara berulang-ulang sebelum akhirnya beralih ke bagian pengawak yang mana melodinya juga dimainkan secara berulang-ulang. Bagian pekaadnya merupakan bagian terakhir dengan mempergunakan melodi pengawak atau kembali pada
sumber: Tabuh Telu Lelambatan Pegongan ”Tabuh Telu Lilit” Oleh: Gede Yudartha
http://www.isi-dps.ac.id/wp-content/uploads/2009/08/Tabuh-Telu-Lelambatan.pdf
Kristen Delholm of Hotel Pro Forma, with ‘The Algebra of Place’
AT THE STILL POINT OF THE TURNING WORLD
During the heady days of this year’s Quadrennial, T.S. Eliot’s immortal words “still point of the turning world” were to be seen everywhere, from exhibition t-shirts to the lips of erudite guests. Where is this ‘still point’? former Commissioner Arnold Aronson asked, for around us ideas were spinning from 60 nations, exposing meanings of scenography beyond the periphery of convenient comprehension. With the fire at Výstavišt? and the need to relocate to several sites, PQ had at once blossomed into the city and become deliciously intangible:
“PQ cannot be easily described or understood – it is about learning, meeting and searching. PQ swallowed up all my original ideas and opened the doors” - Michaela Stránská, Scenofest Manager
During a vigorous panel discussion on PQ’s evolution, partly in regard to its new tagline of ‘Performance Design & Space’, Sodja Lotke, PQ Artistic Director, asserted that it was not about providing answers: “PQ is questioning contemporary scenography – exploring when and where it is and what shape it takes. Questioning things is not about doubting them: questioning creates possibilities to make things stronger. A dialogue with [other] disciplines that have scenographic elements creates possibilities for new views on our own practices.”
While Lotke’s words speak to me of risk, my own answer to Aronson’s question is that each of us finds our own still point, that delicate and personal ‘hub’ where the world feels appropriate to us. The myriad of encounters that PQ throws up, falling like dice in unpredictable combinations, presents us with the opportunity to realign and reassess where our own centre lies.
THE AGE OF CURATORS
It was also the first time PQ had created a curatorial stance. Lotke’s Intersection project commissioned 30 installations from practitioners in a range of fields. This stance was also reflected in a series of talks involving international figures. Moreover, the majority of national exhibits themselves got the hint, and it became rapidly apparent that this year’s PQ was to be a creative view of the world – not restricted to theatre genres – as interpreted not only by theatre artists but by others, e.g. US composer and inventor Tod Machover and product designers Numen/For Use. This Vienna/Zagreb-based company have explored aspects of scenography as a flamboyant extension of their practice – and in doing so won Gold Medal for Best Set Design for a “clarity of vision that challenges stage directors to see their art in new ways”.
PQ had certainly moved its centre from pavilions towards exploration. At the RWCMD exhibition, scenographer Gudny Sigurdardottir told me her most influential experiences of PQ had been the talks, especially Hans Peter Kuhn’s (pictured with Lichterfeld F60), the Berlin-based artist whose path emerged working as a sound designer in theatre. He is known for past collaborations with Robert Wilson (e.g. HG for Artangel) and now for solo installations using sound and light.
2011 was indeed the year that sound made a big impact, from the appointment of Steven Brown as PQ’s first Sound Design Curator, to the first award given for Sound to UK’s Dan Jones and Kathrine Sandys.
The award to Sandys (pictured with Czech director and Juror, Viliam Do?olomanský) is significant. International recognition for her work, which uses resonance and vibrations rather than traditional composition, suggests that the UK theatre sound scene should similarly seek to redefine itself more expansively.
The debate continued how to represent sound design – some said it shouldn’t be attempted, others couldn’t wait to experiment. Sandys’ own exhibit consisted of little more than photographs, prose and a recording of low freqencies: our brains did the rest. Presenting work in new ways in a museum context does throw up problems of museology. It would seem that scenographers must master a related but different field in the presentation of their work. Lotke noted that when scenography is transposed to a new context, the dramaturgy must also evolve for the exhibit to work on its own terms.
TO BE BRAVE ENOUGH TO WANT THE RISK
The concept of risk was on the lips of many of PQ’s guests. “I like that risk element“, said Robin Rimbaud (Scanner), a ‘global travelling explorer of sound and image, fascinated by possibilities and encounters’, “I’m drawn to eccentric projects where I don’t know what I’m going to do”. Meanwhile a rapt audience gathered at the ‘Open Spatial Laboratory’ to hear Charles Renfro of NY architects Diller Scofidio & Renfro - who tease our perceptions of how we use space. “We are not just interested in being provocative” he said,“but in making people upset”. An artist insistent on upsetting herself , is Kirsten Dehlholm, of Hotel Pro Forma, Copenhagen. “Sometimes I need to be surprised – to put things that don’t obviously belong together. There are many meanings and audiences can find them.”
jesus_c_odd_size, was performed by real people chosen for their qualities appropriate to the biblical personae they represented. “The grandmothers of the disciples drank tea and told you stories about their disciple grandsons”, Dehlholm explained, “Virgin Mary – she has two rooms – one for men and one for women – when she goes she leaves a note – ‘back soon – Virgin Mary’.”
WHY THE NEED TO TAKE RISKS?
Tod Machover, Professor of Music & Media at the MIT Media Lab, observed that most young people experience the world via computers. “We have to rebuild public experiences from the ground up and new reasons for people to come together. You can no longer assume that people will want to go to a normal theatre.” Machover’s descriptions of Hyperinstruments as well as his robotic opera Death and the Powers, demonstrate how technology can be used to extend and empower us as human beings. He uses physical movement picked up by sensors in order to control technological devices. If theatre is a machine, the outward expression of the human being, we should seek new models in step with the minds of our young people.
Italian director Romeo Castellucci finds other reasons to take risks and ways of finding that still point. “Communication is our daily disease – art is an interruption of this string of images and words. Theatre could be just a moment of thinking… I want strongly to be lost – to be seen by the art, this is the biggest risk“. This recalled a Guardian article where he’d said “I need to be crushed … to reach the point where I don’t trust theatre or even myself.”
LOSING YOURSELF IN THE WORK
Castellucci described a sequence from Tragedia Endogonida which involved actors as priests playing basketball on a stage behind a glass screen: the voices are muffled . This is a sensory theatre of image and sound, but not word – the quality of sound is the cipher. For Persona, a PQ installation, Castellucci created an unbearable mask. The tongue had a heavy metal mechanism that whirred away at a high metronomic pace – appalling in both the noise it made and the thought of putting your fingers in. We are in the land of Greek myths, of oracles, of cruelty.
Portugese artists Borralho & Galante took us to the micro end of the scale with their World of Interiors (in a Box). Rodrigo Garcia’s theatre writings were whispered by two figures lying in stillness. You could lie next to them if you wanted and lose yourself in the the texture of the sound and intimacy.
Meanwhile, Professor Dorita Hannah, Commissioner for Architecture, talked of Diller Scofidio & Renfro’s “ability to walk across scales” starting from the micro experience of “mist on skin”, a reference to the Blur Building ‘made’ of fog on Lake Neuchâtel.
In projects such as Arbores Laetae (pictured) or the High Line park project in New York, public space becomes performance space. Renfro explains “a Frame is one-way in theatre; in a public space, it’s two-way – there’s a confusion about who’s looking at whom”. He employs great processes to achieve this: he ‘tips’, ‘slices’, ‘floats’ and ‘exposes’, leading Hannah to observe his architecture as a ”framing of the marvellous” and Renfro to remark that “the passers-by ARE the theatre”.
You had to look no further than Kotcích Street where passers-by indeed became the theatre in Rolf Abderhalden’s Fourth Act (pictured), or Árpad Schilling’s Krétakör ensemble, where participants played an immersive theatre game involving extreme risk and self-regulation at the derelict site of Rudé Pravo newspaper.
MODELBOXES ARE NO LONGER ENOUGH!
All of which left the main international competitive exhibition in uncertainty. What you have to do in order to win those coveted prizes can no longer be taken for granted. There’s a general sense of new directions, of scrapping the rule book. I nonetheless found exquisite engagement in Red Cliff for Peking Opera, designed by Gao Guangjan. Each of these little missiles was adhered to a thin acrylic flat.
And this is Dream of the Red Chamber, for Kunqu Opera designed by Liu Xinglin, (WSD Gold Medal winner for Stage Design). This was actually a collage made up of different scenes pulled together by imaginative layering.
And here is Paul Brown’s design for Aida at Bregenz, so big you can’t even see the edges of the casing.
Maybe it’s no longer enough to show simple modelboxes! Delight in low technology, textural richness and a range of performance genres was almost universally reflected in the choices of the Jury – as in this detail from a dress designed by Luciana Buarque for the Gold Triga-winning Brazil entry.
In a complex dramaturgical world, it isn’t necessary to abandon principles of scenography, even when that world is much transformed and challenged. Es Devlin, pushed by Roni Toren to defend this very point in reference to stadium performance, had no problems in identifying that ‘text’ is always the starting point and the ‘idea’ of text can be interpreted in many ways:
“Where I can, I start with the words. Whether it’s Greek tragedy or Kanye West it’s all about storytelling. Working on a text with a director, you have stage directions; [with Lady Gaga] it’s how she feels when she wakes up in the morning – that’s the text and those are the stage directions, they don’t get stuck in the 19th century, and it’s different every day.”
Devlin also urged us not to keep hold of ideas. “I never say hold on – if directors don’t want it, move on, there’ll be a better one – let someone else have that one.”
NEVER SAY HOLD ON
I return to Lotke’s assertion that PQ is a question, a title, that theatre is just one mode of performance, that scenography perhaps deserves the context of ‘full body performance’ in order to fully represent itself.
Intersection was supported by an academic framework of institutions that included the V&A. The UK is at a disadvantage. Bound by tradition, the method of representation changes little. This year’s exhibit pushed as far as it could within the existing formula (of membership, selection and so on) to respond to the ambitions of PQ’s multi-disciplinary brief. The way we do things was once again reflected in an exhibition design presentation of 8? x 4? panels (even if evolved to gold frames for PQ itself).
PQ2011 suggests that it’s time to readdress this formula. It has offered UK scenographers, including all disciplines, a golden opportunity to start to think about PQ2015 as an open brief, a blank space, to be able to ask – as other countries do – What Shall We Do This Time?
Inspired and Derive by ‘sprites’ at the end of November 2011 on one side have been aroused and triggered so many responses from friends and colleagues to the Idea I shared, questions on why it got to be ‘sprites’, who will bear the cost, why should be in that place, why it should be in 2013, what do you expect from ‘sprites’ and so on. Questions that I could not answer sweetly precise, but it provoke me to find the answer and explore more to some relevant happenings world wide, in Quest of ‘sprites’, a thoughtful Revelation…
We All Shall Wait until The Time Come.
Here is one of Chinese proverb:
“The gem cannot be polished without friction, nor man perfected without trials.”
Lets move on.
Posted: December 24th, 2011
Categories:
's p r i t e s' 2013
Tags:
Dody Nash,
PQ 2011,
sprites 2013
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What is Scenographer ?
From Wikipedia, the free encyclopedia
A scenographer develops the appearance of a stage design, a TV or movie set, a gaming environment, a trade fair exhibition design or a museum experience exhibition design. The term originated in theater. A scenographer works together with the theater director to make the message come through in the best way they think possible, the director having the leading role and responsibility particularly for dramatic aspects – such as casting, acting, and direction – and the scenographer primarily responsible for the visual aspects or “look” of the production – which often includes scenery or sets, lighting, and costumes, and may include projections or other aspects.
While a common role in theatrical production teams in most countries, the position of scenographer is very uncommon in the United States, where this task is generally parcelled out among several people, principally the scenic or set designer who generally spearheads the visual aspects of the production. The production’s design team often includes designers for: scenic design, lighting, sound, projections, costumes, properties, choreography, and sometimes others.
Plays are usually produced by a production team that commonly includes a director, scenic or set designer, lighting designer, costume designer, sound designer, dramaturg, stage manager, and production manager.
massimiliano fuksas: scenography of medea and edipo for the greek theatre of siracusa, italy
scenography of medea and edipo for the greek theatre of siracusa, italy by massimiliano fuksas
image courtesy massimiliano fuksas
architect massimiliano fuksas has created a greek theatre for the fondazione INDA
(istituto nazionale del dramma antico) in siracusa, italy
according to fuksas the element of thought and inspiration for this scenography was
the horizon. a very simple horizon – he adds- that speaks about the catharsis element
and the landscape, the place and the action for the conscience of the ancient spectators.
as the landscape and the scenery are changed in the course of time, the contained intention
in this scenography is the reconstruction of the lost horizon, staged by a ‘concave blade’
that mirrors all that happens around, that involves the audience, that reflects and invites
to reflect.
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
scenography of medea and edipo for the greek theatre of siracusa, italy
image courtesy massimiliano fuksas
general info
object: scenography of the greek tragedies medea and edipo a colono
project: massimiliano and doriana fuksas
site: greek theatre of siracusa, italy
date: 2009
client: fondazione INDA – istituto nazionale del dramma antico
type: realized project
The famous principal “form follows content” is the most important guidance for the architecture office “Attelier Brückner” in Stuttgart. Uwe Brückner is one of the leading scenographer and develops with his 70 people big office creative, individual concepts for spaces, mainly for museums, exhibitions and fairs.
POSTED BY KLEINE WUNDERTÜTE AT
14:54 
International Festival of Theatre
Sibiu, Romania
May 27 – 31, 2009
Costume Working Group Report
OISTAT Scenography Commission
Co-Heads:Laura Crow and Lise Klitten Vice Head:Kazue Hatano
Internation Theater Festival
Sibiu
Romanian Theatre Highlights
Metamorphoze by the Radu Stanca Theatre of Sibiu on a cold rainy night for an audience covered in clear plastic garbage bags.
The set rises behind a very large pool of water. The Scenographer is Helmut Stürmer who works often with Silviu Purcarete as a collaborative artist.
The company arrive from a proscenium to the left end of the water and a pier that protrudes from the proscenium.
The actors set up the metal platforms as the words of Ovid are spoken..
Light-hearted fun. The flight of the angels.
An angel with toilet paper wings enters the pool.
The multi-headed dog Cerberus guards the gates of Hades.
Strange plastic coated beings in Hades.
Doctors try to resurrect a life.
The deus ex machina is two strange 18th century male drag queens who arrive in a green light.
There is a heavy dosage of fire breathing from the cast spitting out liquid parafin.
The scenery is set on fire as a large projection talks about the human flesh eaters who don’t take advantage of earth’s bounty.
The evening finishes with the audience marveling at lax fire codes and actors who will put up with cold weather and water that is not heated.
The director of Metamorphoze, Silviu Purcarete, and the Costume Working Group members have a spontaneious discussion in the backstage tent. The talk is about his collaboration with designer Helmut Shürmer and his return to Rumania after many years as artistic director for his own company in Lyons, France.
Silviu Purcarete answers questions with Nic Ularu, the Programming Director for Romania by his side.
The students of Dr. Faustus ponder their lessons on computers.
The students look on in earnest to learn from their professor.
Faust is delivered a bed full of virgins as the first proof from Mephistopheles that he is good for his word.
Strange phantoms appear at the window of Faust’s study.
Suddenly the back wall breaks away and two phantoms appear on a Rhinoceros to take Faust to a place of debauchery.
The great Rhinoceros is taken to the back of the Theatre to his Altar.
Women are fornicating with pigs.
Lucifer drives his minions on.
Apparitions hang from the ceiling.
Mephistopheles played by reknowned actress Ofélia Popii pulls the intoxicated Faust further into this world.
Faust rapes an old debauched woman.
Faust is presented with
Helen of Troy
Faust takes Helen of Troy to Lucifer’s orgy.
Fires appear to burn out of control near electrical wires.
There are serious pyrotechnics in the warehouse where the production takes place.
In the end Mephistopheles returns to his/her human self and summons the dark angels of death.
One last apparition appears on the Rhinocerous and toys with the scenic model, and the life of Faust
Titus Andronicus
Here seen at home with his family in a strange new version of movement something akin to Bhutto, but with the addition of erratic movements that are not slow.
Lavinia is attacked an loses her tongue.
The Shogun’s son swears revenge with a strange mask on the side of his head.
Lavinia tries to warn of an attack, but she has no tongue. The henchmen have strange hands painted in white that are quite disturbing.
And ScenoPlus, world Leading Scenographer,
Founded in 1985, Scéno Plus has made its mark internationally by its constant quest for innovative design and original construction solutions dedicated to cultural and recreational venues. Architects, technicians, engineers, stage designers, computer graphics specialists, specialized designers for theatrical and audiovisual equipment, project managers all share their expertise and passion on a team that looks on the most ambitious projects as a call to creative action.
Since its inception, Scéno Plus has completed entertainment projects of large scope, many incorporating one-of-a-kind technological features. From small creative studios to multidisciplinary spaces, circus theatres, concert halls, large-capacity theatres, cinemas, convention centres, event centers and multi-purpose halls, the company has consolidated its expertise and has been acknowledged for its innovation.
Scéno Plus realizations in casino environment include among others, the New Joint at the Hard Rock Hotel and Casino in Las Vegas, The Venue at Horseshoe Casino in Hammond, the Colosseum at Caesars Palace, the Wynn Las Vegas Showroom, the Bellagio Theatre for Cirque du Soleil “O” show and the Treasure Island Showroom for Cirque du Soleil show “Mystère”. Other Scéno Plus’ realizations include somewhat more modest, but highly regarded, contributions to theatres in the UK (Stephen Joseph Theatre in Scarborough, the Dream Factory for the Playbox Theatre in Warwick and Guilmore Hall in Glasgow) and the Herald Theatre at the Aotea Centre in Auckland, New Zealand. In Québec, Scéno Plus has designed and managed the construction of over thirty entertainment venues. In the Montreal area these include Théâtre d’Aujourd’hui, Théâtre du Rideau Vert, l’Usine C, Centre Pierre-Péladeau, Salle du Gesù, Salle Beverley-Webster in the Musée d’art contemporain and Le Théâtre de la Ville, to name just a few.
Having been awarded numerous coveted awards such as the Outstanding Private Building Award for The Colosseum, the Award of Technical Merit, The Las Vegas Showroom of the Year and the Eddy Entertainment Design Award for the Bellagio Theatre, Scéno Plus has set high standards for quality and performance and made itself a name for innovation by developing unique concepts for flexible performance halls and technically advanced components.
With a truly innovative vision and a passionate approach to every project and every challenge, Scéno Plus develops unique performance spaces that meet the highest expectations of the public, creative artists and managers. That passion for architecture and the world of entertainment has earned Scéno Plus many international awards. It all adds up to a vision expressed in three key words: Technology, Art, Passion.
A glance-meet her at Architects Under Big 3 # 20 on December 2nd left an uncomforted feeling on me to days after, regret to my behavior unconsciously driven by ‘anxiety’.
I think I heard she said “I am one of your biggest fan…” and I just looked at her blankly with no word came out from my mouth, so irritating if I was at her situation.
A moment when my body in one place and my mind somewhere else.
To works thing out, I try to help my self connected to her in my way. Search her through virtual world always one of quick solution nowadays.
Finally, connected!
Her words on these yesterday “Sir, we met for several times on occasions this and that…., shake hand when introduced by Popo Danes…, and I become familiar to your reactions……. (she actually wanted to say an expression of Eyes blank, no heart-fully smile)
I sent her a long apologized and a re-introduce myself email
On 12/05/11 10:08 PM, Yoka Sara wrote:
——————–
Hi Riri,
Please accept my apologist for unpleasant mood of mine the night we met at UBT, I really hate myself being that way.
I am looking forward talking to you again in a better circumstance.
regards
Yoka Sara
Dear Pak Yoka,
Never mind, Pak… I wasn’t even thinking about it. I thought that’s how you normally are. But, thank you for thinking of me, I appreciate it.
Kind regards,
Riri Prabandari
She is Riri ‘catlover’ Prabandari , the mind behind ‘Little Morning Sunshine” , and here are some pics found of her, in various styles
Find more of her at http://duniariri.blogspot.com/
A surprising virtually connected to TIARMA DAME RUTH SIRAIT by Linkedin led me to find out more of her works.
I had to tried so many ways in virtual world – in deep curiosity-until I could see myself, her astonishing Art performance images in two different time, 2009 and 2011.
Only by seeing pics of her works, I felt myself truly electrifying, my blood stream boosted, an unconscious feeling of entering into a different world of mind.
“At a glance, reminded me to Alexander Mc Queen and Cirque Du Soleil State of the Art Works, created by a single person….”
All of her works shown below sourced from http://www.facebook.com/pages/Jakarta-Biennale142011-Artist-Tiarma-Sirait/171047794785
2009 FASHIONVAGANZA Art Performance for the opening of the ART JAKARTA “Indonesian Art Festival” organized by Harper Bazaar at Ritz Carlton – Pacific Place, Jakarta – INDONESIA
Photographed by Gamal Hendro.
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“Transporter and Transformer at Jakarta Biennale #14 2011
Transporter & Transformer by Tiarma Sirait. Photographed by Yuli Metasari
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Transporter & Transformer by Tiarma Sirait. Photographed by Henri Bun
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Transporter & Transformer by Tiarma Sirait. Photographed by Henri Bun
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Transporter & Transformer by Tiarma Sirait. Photographed by Henri Bun
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Transporter & Transformer by Tiarma Sirait. Photographed by Albert D Indra
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Transporter & Transformer by Tiarma Sirait. Photographed by Henri Bun
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Posted: December 14th, 2011
Categories:
inspiration,
news
Tags:
Patrick Dougerty,
STICKWORKS
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A quick fugue sketch for a new ‘intermingle space’ at Suklu Studio, a gigantic intermingling of giant bamboo, an expression of unifying energies from all directions at the place which seemed currently scattered.
It will be situated on top of water and slope of lush green, positioned purposely embracing the sun movement throughout the years.
“The water will enhanced the strokes of bamboo and the green will respond to motion shadows, building the illusion of spinning circle, projecting out to macro cosmos, the essence of the Circle of Life
Derive from scenes of ‘thousand’ young ducks, and stacks of dry tall grass….
Until I found this, an Art Installation by Andy Goldsworthy………..
Andy Goldsworthy
Woven bamboo, windy…,
Before the Mirror
1987
photoograph
Short Messages Communications december 16th 2011:
Suklu: Akhirnya ketemu bli Yoka… “bebek and Intermingle Space”
Y S: Dan ternyata sudah ada yang ‘melakukan’. Ganti haluan…..
Suklu: Tyang ingin lihat sudut pandang lain dari bli Yoka dengan Konsep sama….
Posted: December 14th, 2011
Categories:
's p r i t e s' 2013,
inspiration
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suklu
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'Intermingle' by Hugo Bastidas, 2007
intermingle
verb; marinating overnight allows the flavors to intermingle:
mix, intermix, mingle,blend, fuse,
merge, combine, amalgamate, integrate, unite;
rarecommix, admix; literary commingle.
| Verb |
1. |
intermingle - combine into one; “blend the nuts and raisins together”; “he blends in with the crowd”; “We don’t intermingle much”
commingle - mix or blend; “His book commingles sarcasm and sadness”
|
Based on WordNet 3.0, Farlex clipart collection. © 2003-2008 Princeton University, Farlex Inc.
intermingle
verb mix,
combine,
blend,
merge,
fuse,
amalgamate,
interweave,
meld,
interlace,
commingle,
intermix,
commix The two cultures intermingle without losing their identity.
Collins Thesaurus of the English Language – Complete and Unabridged 2nd Edition. 2002 © HarperCollins Publishers 1995, 2002
‘Intermingle I and II , courtesy of TEMSUYANGER LONGKUMER
http://www.temsuyanger.com
I
Posted: December 11th, 2011
Categories:
's p r i t e s' 2013
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intermingle
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THE NAME KADEK KRISHNA ADIDHARMA.
(The name) Initially mentioned by Yudane (a dear friend with gigantic sound figures in his head) in our coffee morning at my house backyard. The motive of his visit on one of my anxiety sunday was to ‘troubleshoot’ on numerous of ‘Yudane’s spooky matters’ upon his “eyes burning design” house on going construction.
Took not longer than 20 minutes discussing solving his headache and concluding, even our coffee still hot when we finally closed the chapter. Easy….
This is the backbreaking annoying part, our chat driven to our entanglement in Bali Creative Festival 2011 and that sunday, november 27th supposed to be the last day of the festival.
He was involved at the beginning, contributing his ‘Shamanistic sound‘ for the video teaser of the festival. Then after, it sequentially come in to my turn, also approached by Ayip (my dearest ‘multi task’ soul mate). It departed inspiring, to be friendly to I wayan Sujana ‘suklu’ (I always curious to know who is the ‘madness mind’ behind ‘suklu’), Made Bayak, and more Art community that I even did not realized they are exist. I should thank to Ayip a lot regard to this consequence. Inspiring and inspired, our several brainstorming led us into a scenario of “to tempting audience’s five senses”-panca indera-in every part of their sequence ritual in the festival. Hearts flowering, our energy aroused, believed that we all will respond harmoniously. It was seem “every thing going to be all right”.
This is the beginning of the story (of my frustation-the only word I know to express it out- no overgoating to anybody)….
A storming news reveal during our final meeting with Anom ‘Antida,’ totally ruined the whole night, when we were all (Yudane, Iwan Sastrawan< Dea and Click+Dina) at the peak of our excitements listening to the SoundScape of Yudana for the Festival…. A run down of LIVE MUSIC!.
Then, I decided to walk through ‘walking home’ to get the feeling of his writing, in which after i got a sensation of like listening to Goenawan Muhamad.
http://www.adidharma.net/walkinghome/index.html
Anyway, I kind a like his pose, not my style, but really his………..
*) sangat diperlukan, sangat dibutuhkan
