LAURA BAIGORRI VIDEO PRIMERA ETAPA PDF

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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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Steina and Woody Vasulka. Once the piece was finished, the animators sent the result, from which the dancers adjusted erapa their movements for a perfect synchronization. On the one hand, the real space, fruit baigorir the personality of Paula, the elder sister, reasonable and responsible. These handmade drawings were scanned and separated into layers in order to make the animation easier.

L’any es van casar. Del al fa el servei militar. This text prrimera let us go into laurs creation and staging processes of a theatrical play, in which choreographic work, drama building and animation are intimately related and mutually reinforce each other.

Both of them follow the trend of melting the boundaries between fiction and reality, and also transcending the screen limits. The cartoonist experiment expected to overstep the physical limits of the screen and, at the same time, the intangible boundary between fiction and pdimera, an extrasensory experiment that only got its thoroughful meaning on stage, at the moment of the acting. The videos provided the animators with the location of the objects that were adjusted to the dancers movements.

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Besides, these primeta of work also suggest a new gaze on theatre, whose contemplation and enjoyment finds its full meaning in the real time, in the live show. The actresses interacted with the animated objects through their own shadows, obtained by means of a projector placed behind the screens. Two vertical opaque screens, one metre separated, were on stage.

In this case, if light comes exclusively from the front, the screen will be opaque from the audience. Conclusions Scenic arts provide a new sphere for animated experimentation. Although the complete work offers a perfect interaction result, the work methods adjusted by hand the animation to spatial and temporal location of music and movement.

Realitzat per Woody Vasulka.

Laura Baigorri — LABoral Centro de Arte y Creación Industrial

Projectors are, in general, smaller than any monitor. Museu of Modern Art. As we have mentioned before, back projection was used for Consonant. In theatre and performative arts, the students and professionals can find baihorri platforms to take advantage of the interaction possibilities between the animated pictures and words or dance, and also other resources like recorded or archive pictures.

Through digital or manual techniques, the animators put their creations at the disposal of the drama, in a space where image and body languages come together. Remember me on this computer. Help Center Find new research papers in: The quality of the cartoon character animation was undeniable. Patricia Barrachina — Patossa Graphic animators: The Buffalo Fine Arts Acadeny, 9 d’abril dep.

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Illustration and animation in theatre for children | Beatriz Herraiz –

Jo vivia amb l’Alphons Schilling. Also the software used to launch a real-time video, or even budget, are factors that intervene in the technical design of the show. The occasional lack of interconnection between theatre and animation worlds lsura to be also taken into account, although more interdisciplinary teams are being etspa and carrying out joint projects progressively.

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The main problem of this kind of shows could be the tight budgets, maybe. McCay himself, as many other cartoonists, took part in some small vaudevilles called chalk talk, where the audience could listen to their discourses while enjoying their live drawing. The Theater of Hybrid Automata He was wearing a smoking and held a whip in his hand.

Steina i Woody Vasulka

Enter the email address you signed up with and we’ll email you a reset link. On stage, these two spaces corresponded to the areas in front and behind the screens, respectively. Interactive Technology and theatre. ;rimera

In addition, the animator had in his power the drawings of the illustrator Patricia Baigorti, who was, at the same time, in a continuous connection with the stage director.

Probablement, aquest fou l’inici d’una aventura que no va tenir fi: Dream and awakening Paula and Aina go to sleep. This was followed by a string of interactions held between the real and imaginary characters.

El es traslladen a Nova York. The media depict the events enacted onstage from another visual perspective.