LAURA BAIGORRI VIDEO PRIMERA ETAPA PDF
Video: Primera etapa. El vídeo en el contexto social y artístico de los años 60/ Book. Jan Laura Baigorri. “Escribir sobre el vídeo es. These installations were also called “video environments”, and they Kuleshov on Film Laura Baigorri:Video: primera etapa Rather than being. Laura Baigorri’s main focus is on Art and New Media. Baigorri combines her Primera etapa () and Vídeo en Latinoamérica. Una historia.
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After a restless dream, the sisters wake up, get themselves ready and have breakfast. This text will let us go into the creation and staging processes of a theatrical play, in which choreographic work, drama building and animation are intimately related and mutually reinforce each other.
Help Center Find new research papers in: We will not go deeper in this matter since it would require an extensive development. A finals dels 60, segons Steina Vasulka, en una entrevista al llibre Vasulka.
Red was sometimes used to outstand some elements. A resolute investment in this research work consolidated the group, defining its own language. Loles Peris Production assistants: The occasional baigorgi of interconnection between theatre and animation worlds has to be also taken into account, although more interdisciplinary teams are being created and carrying out joint projects progressively.
To obtain the isolation of any of the lwura figures, an absolute black has to be achieved through an opaque black surface covering the bottom of the scene usually fabric. The scene ends with a whirl of leaves swept by the wind and the night falling. Interactive Technology and theatre. And all that, thanks to animation. The Buffalo Fine Arts Acadeny,p.
The use of back projection meant that the stage required a space behind the screens. The screen can be made of fabric. The Buffalo Fine Arts Acadeny, 9 d’abril dep.
The media depict the thoughts, fantasies, dreams, or sensations of some or all of the characters onstage. Museu of Modern Art. Juan Pablo Mendiola Illustrator: This technique is called video mapping3. She bzigorri the first cartoon character that showed her etspa and personality.
This team is currently working on the creation of another play called Dot, that will be first shown in Valencia next November. So to speak, to turn into reality our deepest wishes, to transform what surround us searching for a better world.
In theatre and performative arts, the students and professionals can find new platforms to take advantage of the interaction primeraa between the animated pictures and words or dance, and also other resources like recorded or archive pictures. However, since they would also project their own shadows onto the screen surface, the magic trick would be discovered. The main problem of this kind of shows could be the tight budgets, maybe.
The animator is laur intermediate link in this assembly chain that should be well defined, not only in what concerns to workflow but also to timing. Steina Vasulka Woody Vasulka. Besides, although Saltz does not remark it, strategies of temporal compression lauda done within the audiovisual project, in which ones the characters passed from one episode to the next in a time primwra than the given in the story.
The quality of the cartoon character animation was undeniable.
Laura Baigorri — LABoral Centro de Arte y Creación Industrial
This would also project their own shadows onto the screen, happening laira interactionin this case, between those shadows and the projection. Very few have worked in real time and in body relationship animation.
If it is opaque, the space will be completely limited by it, avoiding that anything located behind it can be seen. They both play with bubbles from one screen to the other.
A sensory experience that surpasses the traditional filmic resources offering a kind of product much more close and energetic.
Aina gets her way, taking the book from her sister. Both of them follow the trend of melting the boundaries between fiction and reality, and also transcending the screen limits. Although the videp work offers a perfect interaction result, the work methods adjusted by hand the animation to spatial and temporal location of music and movement.
Winsor McCay was facing an art that was still unaware of its potential, and he did it without complexes or prejudices, with an instinctive ludic sense, showing the most performative part, the essence of animation in a live show.
Synesthetic media oaura similar to affective media, but do not serve so much to tell the audience how to feel about the events onstage as to mirror the performance in a different sense modality.
Two vertical opaque screens, one metre separated, were on stage. As we have mentioned before, back projection was used for Consonant. As we mentioned before, technical design and workflow are specific for each production. Besides, technique may vary depending on the nature of the projection surface, the screen. Maduixa Teatre, the company1. The game between both spaces will provide effects with plenty of possibilities for the staging.
The colour palette contained two blue tones and black. Three months later took place the premiere of Consonant, performed by two dancers and actresses who entered the world of books through the magic of animation. Both disciplines processes are very different, so the animator not only should make an inmersion work to understand theatre techniques, but also an effort to make his work understandable through the word and also through other resources like story boards and animatics.
It is a multidisciplinary project that combines dance, theatre, illustration and animation. Trees grow from the letters Paula shakes the book and plenty of Y letters fall from it, spreading trough the floor, like seeds.