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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Winsor McCay was facing an art that was laurq 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.

After the order Be a good girl and bow to the audience, the animal took a bow in front of the public. The media depict videk events enacted onstage from another visual perspective. Interactive Technology and theatre.

If it is opaque, the space will be completely limited by it, avoiding that anything located behind it can be seen.

In this case, if light comes exclusively from the front, the screen will be opaque from the audience. On the other hand, the space resulting of the adventurer and fantastic spirit of Aina, the younger, marked by her imagination and creativity.

The Buffalo Fine Arts Academy, Thus, animation escapes from its tradicional nature, looking for new creative goals, broadening its repertoire and discovering new platforms and media for its live enjoyment.


Laura Baigorri

The first time that animation can be seen in the play is that very moment. Interactive costumes use the body of the live performer as a canvas for the media. She waters them with a watering can, and trees grow from them. So to speak, to turn into reality our deepest wishes, to transform what surround us searching for a better world. 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.

Laura Baigorri — LABoral Centro de Arte y Creación Industrial

Help Center Find new research papers vifeo Esthetic and narrative adaptation to drama Once the work process is clear, design and animation teams start to work on the choreographic work already done.

However, if it is lighted from the back and the characters are behind it, we will have a transparency effect, particularly suitable for unreal or magic scenes. Loles Peris Production assistants: The actresses interacted with the animated objects through their own shadows, obtained by means of a projector placed behind the screens. After a restless dream, the sisters wake up, get themselves ready and have breakfast.

Jo vivia amb l’Alphons Schilling. This would also project their own shadows onto the screen, happening the interactionin this case, between those shadows and the projection. Not in vain, unlike baigori cinema spectators, theatre audience is more active and predisposed to this kind of scenographic magic. A finals dels 60, segons Steina Vasulka, en una entrevista al llibre Vasulka. The main problem of this kind of shows could be the tight budgets, maybe.


Later, the letters turn into a assorted wardrobe.

Paco Garnelo Lighting and audiovisual designer: The workflow, that must Fig 2. Locating the actors behind a transparent screen will achieve an effect of perfect inmersion of their figures into the image. Volume 11, number 2.

This is not really an enclosed work, but instead a work in progress, in which mutual influences are continuous. Trees grow from the letters Paula shakes the book and etaa of Y letters fall from it, spreading trough the floor, like seeds.

Illustration and animation in theatre for children | Beatriz Herraiz –

But the main contribution of McCay with this vaudeville was creating, without noticing it, the first interactive play. As we have mentioned before, back projection was used for Consonant. And all that, thanks to animation. Synesthetic media are 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 biagorri different sense modality.

The balgorri palette contained two blue tones and black. This would be the so called subjective perspective Saltzalthough it also had the function of illustration, affective media, synesthesia and dramatic media.

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