Drawing Narratives from Sand to Light
1 PRESENTATION
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2 OUR MISSION
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3 LTC AND PRAGUE QUADRENNIAL
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4 THE DRAWING NARRATIVES PROJECT ON PQ 2019
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4.1 WORKSHOP DRAWING NARRATIVES: EXPERIMENTS WITH SONA GEOMETRY FROM ANGOLA AND POINT AND LINE FROM KANDINSKY’S THEORY Workshop Schedule 4.2 INTERACTIVE PERFORMANCE DRAWING NARRATIVES: FROM SAND TO LIGHT
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08 09
Interactive Performance Schedule
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Complete Schedule
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4.3 INTERACTIVE GAME OF SONA GEOMETRY FROM ANGOLA
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4.4 DRAWING NARRATIVES CREATIVE STORE
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CONTACTS
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Attachment 1 DRAWING NARRATIVES STORYBOARD [in portuguese|in progress] Attachment 2 DRAWING NARRATIVES TECHNICAL NOTEBOOK
_Photo 01 [cover]: Caio Sato | LTC, UnB, 2016.
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1. PRESENTATION
Photo 02: Caio Sato | LTC, UnB, 2016.
We are the Stage Design Transdisciplinary Laboratory (LTC, in Portuguese), an University of Brasilia’s (UnB) extension program of continuous action, destined for university students and the artistic community, created by Prof. Sonia Paiva, Ph.D. The LTC is a space of experimentations and learning, grounded on the accomplishment of projects focused on a practical and educational approach to the scene design. We understand it as an open field: where all languages can meet without any dominant or dominated expression; it is just a place for narrative potentialities.
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2. OUR MISSION
Photo 03: Caio Sato | LTC, UnB, 2016.
Beyond the stage design practices, the LTC aims to establish an ecology of knowledge. A lifestyle which - through arts, sciences, education and technology takes advantage of available human resources and diversity as a fertile ground to nourish projects and collaborative, cooperative and inclusive actions. We share with Ubiratan D'Ambrosio, an emeritus mathematician from University of Campinas (UNICAMP), also known as the father of Ethnomathematics - which is a field of reflection upon the sociocultural roots of art and the techniques of explaining and knowing - a conviction that transdisciplinarityy and transculturality are the path to achieving knowledge in the broad sense. In this way, we seek to converge old traditions with the collaborative and inclusive culture of the LTC.
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3.
LTC AND PRAGUE QUADRENNIAL The Prague Quadrennial (PQ) is one of the key drivers for the creation and renovation of the LTC. Our relation with PQ began in 2010, with the production work of projects addressed to the Students' Exhibition at PQ'11. Later on, in 2015, under the curatorship of Sonia Paiva, we produced the Students’ Exhibition at PQ'15 - entitled "BRAZIL: Shared LAByrinths". That edition of the Exhibition involved researchers, educators and students of 20 educational centers from South, Southeast, Midwest and Northeastern regions of Brazil. The creation of the cartography was stemmed from the multiplicity and particularity that lay in the manifestations of scene design all over the country. Therefore, the projects were synthesized into notebooks, which prioritized the registration of the processes and paths of creation - presenting a diverse panorama of our cultural and artistic identity. In Kafka's House, we installed a space-tent where the cartographic albums of the schools were presented, in order to instigate the observers to interact with the Brazilian narratives.
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4.
THE DRAWING NARRATIVES PROJECT ON PQ 2019 We are honored with the invitation made by Aby Cohen 1 to present, as a side project, the Drawing Narratives, a part of the Brazilian representation at PQ'19.
Photo 04: Helano Stuckert | LTC, UnB, 2016.
The Drawing Narratives project consists in a set of actions - a workshop, an interactive spectacle and an interactive game for mobile phones - which brings together the fields of learning and doing, as well as those of an inter, multi and transdisciplinarity.
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Curator responsible for the Brazilian Representation in PQ'19
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4.1. WORKSHOP DRAWING NARRATIVES: EXPERIMENTS WITH SONA GEOMETRY FROM ANGOLA AND POINT AND LINE FROM KANDINSKY’S THEORY The workshop suggests an immersion in two fundamental concepts of the Drawing Narratives project: the Sona tradition from Angola and the theory of Wassily Kandinsky (1866 to 1944) "Point, Line and Plane". These themes were approached in some researches and experiments, developed in Sonia Paiva's doctoral thesis - also, they reflect the processes that led to the creation of LTC. a) The knowledge of the Cokwe people and the Ethnomathematics are a fundamental beginning to start building up narratives. The teaching of the coordinate system is also a crucial point to enable the understanding of Sona Geometry of drawings in the sand: it’s a spacial reference that makes the execution of the drawings understandable. b) Kandinsky in "Point, Line and Plane" presents the point as the original element of the painting and the line as a trace and track of the line in space. When we compare and associate the painting with the drawing of light, we can observe that the gesture of the brush on the support is the beginning of the painting, while similarly, the movement of a luminous point in space is the beginning of light painting. The capture of the trail of light, by the camera, freezes the movement and transforms it into an expression of movement. We can observe with light painting the connection between the light and the gestures that allow the drawing of the movement in space. The point is modified by the resonance of the various possible manipulations and also by the different materials that could be used. Just as each brush shape prints different strokes, experiments with different shapes of light triggers different luminous trails.
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In the workshop, at first the participants will learn about Sona Geometry and, in their notebooks, cell phones or tablets - with the digital game - they will be able to reproduce and learn the drawings of this tradition.
Photo 05: LTC, UnB, 2016.
After the coffee break, the participants will be driven to try out the practice of the drawings with different painting tools in a sound environment, seeking, therefore, to achieve the synesthetic experience of Kandinsky's theory, which merges the sound with pictorial elements. At last, carrying luminous instruments, the participants will draw their movements in space. Captured by the camera, the images of these trails will form beautiful and luminous landscapes.
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Workshop Schedule Minimum1 logistics for the projects accomplishment: Room with the minimum space of 10x10 with blackout, screen, multimedia projector, front camera for capture, computer, tripod, cable, extension cable, VGA cable, 24 cushions or 24 chairs, 24 drawing blocks with dotted paper, 24 pencils, various drawing materials (paintbrush, crayons, ink), various light sources, sound equipment, educational material about Sona Geometry from Angola and Kandinsky's theory, coffee break for 33 people in 30 minutes. Note: The items marked in bold are the resources that we count on with the support of the PQ'19 organization and the Brazilian curatorship. Number of vacancies: 24 Stage
Running Time
Approach
1. Sona Drawings
2h
Ethnomathematics research focusing on the practical learning of Sona drawings using paper and drawing materials
Coffee Break
30’
2. Light Painting and Point, Line, Plane
2h
Application of the technique of light painting, starting from Kandinsky's theory for the creation of images with luminous objects.
The knowledge perceived and exchanged during the workshop can be useful for those who want to participate in the interactive performance of Drawing Narratives: from sand to light, or for those interested in researching about Ethnomathematics. Please note that application and attendance to the workshop are not directly linked to the participation in the performance. Within the show, the participants will have a minimal training to act on the scene; in this way, they will be able to learn the Sona drawings with the help of the LTC components.
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4.2. INTERACTIVE PERFORMANCE DRAWING NARRATIVES: FROM SAND TO LIGHT
"What a joy to receive such an email. What a beautiful project. Narrative is much more than concatenation of words. It is about the narration of the whole, as you propose. Very good indeed. It reinforces my conviction that the transdisciplinary and crosscultural approach is the path to human knowledge and behavior in 2 the broad sense." [Ubiratan D’Ambrosio (2016)
Photo 06: LTC, UnB, 2016.
The Spectacle Drawing Narratives: from sand to light proposes a ritualistic atmosphere for the audience involvement in a performance experience. In a space surrounded by projections, the actors-designers present the old tradition of Cokwe culture – a culture that uses drawing in the sand as a form of storytelling and transmission of knowledge. Afterwards, through playful actions, the participants are invited to experience and redo the drawings in space with their own body. They receive luminous points and the drawings of their movements are captured and projected. The action reconfigures the theatrical space through the audience movement. Sound acts as a multicultural link between the Afro-Brazilian tradition and the contemporary expression, proposing a rhythm for the recognition of space, of the individual and the collective, through a joyful playing.
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In response to the email of Sonia Paiva’s presentation of the Drawing Narratives project – as a practical result of Ethnomathematics’ study – which influenced the elaboration of her thesis and defined the foundations of the LTC.
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The spectacle goes through the following steps The Interactive Performance brings to the audience - not only those who participated the workshop - possibility on discovering the all referred knowledges. In a ludic way, a dramatization of the concepts in a intimate ambiente. A spectacle of ritualistic experimentation shattered in four acts from tradition to contemporary. In the first act - Sona Geometry an Memory - the spectacle has its contemplative moment. The ritualistic ambient is prepared and, having the Wise One as the referencial figure, a dance happens followed by the oral transmission of Sona knowledge to the Wises’ Siblings.
Photo 07: LTC, UnB, 2016.
In the second act - Sona Geometry and The Siblings - the spectacle assumes ludicity in itself, coming near to the Workshop. The Actants - a portion of the audience - gets into the space to practice some drawing, similarly to their ancestors, serving as a ritualistic preparation for the third act. While those
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who are inside the stage draw in the sand - guided by the enlightened Siblings - the sitting audience is guided by screens projections that involves the scene moment when they practice the drawings on the distributed folder, that contain the grid, or on their mobile dispositives, through a developed game available by QR Code.
Photo 08: LTC, UnB, 2016.
In the third act - Learning the Space - the spectacle inflicts itself to a scenic corporal work. The Siblings guide the Actants through the space, transposing the drawed knowledges to the body movement. The stage assumes itself as the grid. The bodies fulfilling it discover themselves as the true drawings. In the fourth act - Luminous Drawings - the spectacle reveals the narrative: from Sand to Light. Properly initiated, the Actants receives power of lighting supplied by knowledge. Together with the Siblings, Actants are captured with lightpainting technique, during a moment fraught of joy. On transcendence, bliss of enlightening. The being perception of inscripting their narratives on
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history. The comprehension of movements conjunction. Where each narrative, in its individuality, builds up totality. In the end - from ancestrality to contemporary - the contemporary must become ancestral. Cyclicity brings back the spectacle to the beginning, and the ritualistic ambience ends up the path through Sand and Light. Interactive Performance Schedule Minimum1 logistics for the projects accomplishment: Room with the minimum space of 11x20 with blackout, screen, 3 multimedia projector, camera for capture, computer, tripod, cable, extension cable, VGA cable, 62 cushions, 3 chairs, drawing blocks with dotted paper, pencils, , various light sources (check technical notebook), sound equipment (check technical notebook). Note: The items marked in bold are the resources that we count on with the support of the PQ'19 organization and the Brazilian curatorship. Number of vacancies for audience: 62 Number of vacancies for participants (inside the stage): 12 Stage
Running Time
Approach
Assembling the stage
5h
Set light, stage and equipment
Drawing Narratives: from sand to light
1h30
Attachment 1
Disassembling the stage
5h
Remove the equipment
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Complete Schedule Minimum1 logistics for the projects accomplishment: Room with the minimum space of 11x20 with blackout, screen, 3 multimedia projector, camera for capture, computer, tripod, cable, extension cable, VGA cable, 62 cushions, 3 chairs, drawing blocks with dotted paper, pencils, , various light sources (check technical notebook), sound equipment (check technical notebook). Note: The items marked in bold are the resources that we count on with the support of the PQ'19 organization and the Brazilian curatorship. Number of vacancies for audience: 62 Number of vacancies for participants (inside the stage): 12 Stage
Running Time
Approach
DAY 1 Drawing Narratives: from sand to light
1h30
Attachment 1
Disassembling the stage
5h
Remove the equipment
Assemble the space for workshop
3h
Sona Drawings
2h
Coffee Break
30’
Light Painting and Point, Line, Plane
2h
Disassemble the space of workshop
3h
Ethnomathematics research focusing on the practical learning of Sona drawings using paper and drawing materials Application of the technique of light painting, starting from Kandinsky's theory for the creation of images with luminous objects.
DAY 2 Assemble the stage
5h
Set light, stage and equipment
Drawing Narratives: from sand to light
1h30
Disassembling the stage
3h
Remove the equipment
3h
Remove the equipment
DAY 3 Disassembling the stage
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4.3. DRAWING NARRATIVES CREATIVE STORE The store reflects the collaborative and transdisciplinary work of the LTC, uniting knowledge of scene design with the visual arts to create unique products inspired in the Sona drawings from Angola. In support of the creative economy and financial sustainability, it is a way of disclosing the brand of the Quadrennial of Prague, of LTC and of Drawing Narratives, and also to perpetuate the artistic production of the project. With the sales, we recycle the materials used in Drawing Narratives’ activities - the cushions (entirely produced by the LTC) that will be used to accommodate the audience in the show and workshop participants, notebooks and sketchpads, among others - avoiding waste of materials. The store's profit is reversed to financial resources to conceive new products and to support the maintenance of LTC's work. These actions are carried out in the same space, interconnected by a common purpose: uniting lost traditions with new contemporary pursuits. In this work, we review cultural and ancestral African traditions – ways of understanding, living and creating through experimentations and knowledge – bringing them closer to our contemporaneous modes, congregating ideas of distinct times in a multicultural narrative.
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4.4. INTERACTIVE GAME OF SONA GEOMETRY FROM ANGOLA
Photo 05: Helano Stuckert | LTC, UnB, 2016
The Sona Geometry drawings The Sona Geometry – the tradition of drawing in the sand – was originated with the Cokwe people from Northeastern Angola. They used to meet by the fire or under the shade of a tree to communicate through drawings - which were expressed on damp, sandy floor. The Cokwe have created hundreds of designs, various geometric algorithms and ways of developing Sona more and more expansive. This tradition was almost extinguished by colonialism but nowadays it was reviewed and explored by many researchers. D'Ambrósio and Paulus Gerdes led educators from around the world - who have studied the application of mathematics in daily life, applied in the artisanal production and cultural imagery – to gain access and understanding to various people and ethnicities in Africa and other locations. The LTC has developed an interactive game for digital platforms smartphones and tablets, using touchscreen technology. The access to the game will be through QR Code, previously distributed to the viewers.
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Through the interactive game, the public can dive in the possibility of practice of these traditional drawings. Paper and pen will also be available for the same immersive experience; in this way, everybody will be able to access in some way the practice. The projection screens of the spectacle will be dialoguing directly with this audience, giving instructions on the strokes.
CONTACTS
Sonia Paiva_director Eric Costa_director assistant Ana Carolina Conceição Ana Zerbini Anna Marques Carolina Guida Caio Sato Lua Castro Lucas Freitas Matheus MacGinity Rafael Botelho
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Attach ment Drawing Narratives storyboard
Storyboard de Desenhos Narrativos: da areia à luz Em Construção
Atualizado dia 30-03-2018
Pré-Ato 1: Batidas de coração. Ação: Técnicos - Crias - distribuem folder 1para o público que entra.
Projeção frontal: Animação da “Coragina” pulsando (Aquarela em movimento), acompanhando o som do coração.
Tempo:
Cenografia: O ambiente de telas, palco e caixa de areia estão montados Som: Batidas de coração em ritmo crescente Luz: o ambiente do palco é iluminado pela projeção, Referência– som de coração (4 tempos e 3 tempos): que pulsa no espaço da performance. Luz externa: o espaço da plateia é iluminado a 50% https://youtu.be/6g5mNu71_FQ somente no espaço da plateia e de sua circulação, 8xPAR 64 com gelatina âmbar.
Pré-Ato 2: Chamamento Temperando a areia Ação: Os quatro Técnicos – as Crias – entram com regadores e molham a areia, enquanto os outros distribuem folders para plateia. Depois de preparar a areia, os Técnicos colocam os regadores do lado de fora da caixa de areia e vestem as luz, que estão no local onde colocaram os regadores, tornando-se Crias.
Projeção: Animação da Coragina pulsando
Tempo:
Cenografia: O espaço da cena acaba de ser montando com a areia, pelos componentes do LTC Som: Batidas de coração em ritmo crescente
Luz: +50% plateia Sem luz no palco Luz da plateia abaixa progressivamente. enquanto o corredor da caixa de areia, para a entrada das Carpideiras, ascende progressivamente Ação externa: as Crias saem com os regadores e se posicionam nos quatro cantos demarcados 1 Os folders contém o QR Code do jogo interativo, desenvolvido pelo LTC para celular e tablet, pela interface totchscreen, a plateia poderá desenhar, acompanhando o espetáculo.
Ato 1: Memoria e Geometria Sona Cena 1 – Entrada das Carpideiras Ação: As Carpideiras entram com panos escondendo o Ancião, que se posiciona deitado no centro do palco. As Crias estão posicionadas nos cantos do espaço cênico.
Projeção: A animação da “Coragina” pulsando, acompanhando o som do coração pulsando (baixo) junto à ladainha das Carpideiras (alto)
Tempo:
Cenografia: Corredor de luz das Carpideiras Som: Batidas de coração em ritmo crescente e ladainha das Carpideiras
Luz: Luz da plateia diminui progressivamente, corredor das Carpideiras ilumina-se e elas entram chamando e cantando ladainhas. Corredor de luz das Carpideiras – 4x ETC Source Four Revolution Ação externa: as Carpideiras preparam os panos em mãos para entrar em cena
Ato 1: Memoria e Geometria Sona Cena 2 – Saída das Carpideiras Ação: Carpideiras saem após terem escondido o Ancião.
Projeção: A animação da “Coragina” se transformando em animação de água reverberando
Tempo:
Cenografia: Ambiente se esfumaça - Maquina de fumaça Som: Batidas de coração em ritmo crescente 3/2
Luz: Projeção de água. Topo do centro da caixa de areia – 1x PAR 64. Fontral no centro da caixa de areia a 45° - 2x ETC Source Four Zoom.
Ato 1: Memoria e Geometria Sona Cena 3 – Ancião desperta
Projeção:
Ação: Ancião acorda com um suspiro, como um sopro de vida, e levanta da areia quando o som e a projeção param. Ancião caminha até o ponto inicial do desenho em sombra.
A projeção da areia clara
Tempo:
Cenografia: maquina de fumaça off Som: As batidas do coração param quando ancião ressuscita com um sopro de vida
Luz: luz de topo apaga – PAR 64 - e mantem as frontais com 30% - 2x ETC Source Four Zoom - e acende contra luz - 4x Selecon Pacific Zoom 14-35.
Ato 1: Memoria e Geometria Sona Cena 4. – Ancião desenha o caminho Ação: Ancião se apresenta e narra o ritual desenhandoum na areia, chamdo A Via ou O Caminho. Sugestão de fala: “em torno da fogueira que passamos o conhecimento”
Cenografia: Som: Som de natureza em baixa intensidade Microfone para ancião e som de fogo
Projeção: Vídeo de areia vira fogo
Tempo:
Luz: As luzes do ato anterior abaixa e a luz geral da caixa de areia - 4x PC FHR 1000 - aumenta progressivamente iluminando o centro para desenho do caminho - 6x6 pontos. E luz da projeção funcionando como contra luz.
Lusona da Via ou o Caminho
Ato 1: Memoria e Geometria Sona Cena 5 – Saída do ancião Ação: O Ancião sai enquanto a luz cai em black-out. As Crias apagam metade do desenho no black-out. Luz acende. FDF interage e as Crias apagam todo o desenho e preparam a areia com movimentos baixos e circulares.
Projeção: Elementos da natureza (fogo)
Tempo:
Cenografia: Desenho na areia Som: Natureza Piiiiin – FDF
Luz: é a mesma do ato 1 cena 4. Black-out. Luz volta, mesma do ato 1 cena 4.
Ato 2: As Crias e a Geometria Sona Cena 1 – Entrada dos Participantes Ação: Em cena do lado de fora o Público Participante recebe o kit luminoso, deixa sapatos e pertences com Carpideiras e são conduzidos pelas Crias a entrar no espaço.
Projeção: Letreiro passando na tela de fora a fora, dando instruções para a plateia de como fazer do QR Code para acesso ao jogo digital no celular 2 .
Tempo:
Cenografia: Toda a cena, interna e externa. Som: Natureza gravada + sons tribais baixos
Luz: Corredor da plateia para sinalização do caminha para o Público Participante – 5x PAR 36 (pin 5 spot) de cada lado. Ação externa: Antes de adentrar o espaço de areia, Carpideiras fazem a troca de kit luminoso pelo materiais pessoais do público (bolsas e sapatos), e depois guardam nos baús seguros no backstage A plateia recebe instruções do vídeo e das pessoas que estão entregando os papeis e lapis
2 As telas agora comunicam-se com a plateia por meio das legendas.
Ato 2: As Crias e a Geometria Sona Cena 2 – Lusona do Coelho e a Mina de Sal Ação: FDF interage. Cria 1 narra o desenho. O Público Participante treina o desenho, com um tempo para seu aprendizado. 3
Projeção: Título do desenho na tela para a plateia acessar. Projeção do Coelho e a Mina de Sal sendo realizado.
Tempo:
Cenografia: Desenho na areia Som: Microfone para as crias e sons da natureza
Luz: Foco na Cria 1 - luz de pino PAR 56 - que conta a historia. Luz geral da caixa de areia com dimer baixo – PC Piiiiin - FDF FHR. Luz geral na plateia com gelatina âmbar - PAR 64. Ação externa: O público participante que está fora do palco terá acesso ao jogo dos desenhos Sona pelo celular, podendo brincar de fazer os desenhos. Quem não tiver celular poderá desenhar os Sona com os papéis e lápis distribuídos. As projeções nesse momento serão em prol desses jogadores externos, comunicando-se com eles e aproximando-os do que está acontecendo no palco.
O Coelho e a Mina de Sal
3 Enquanto isso, a público externo tem o mesmo tempo para treinar no jogo digital.
Ato 2: As Crias e a Geometria Sona Cena 3 – Lusona da Galinha em Fuga Ação: FDF interage. Cria 2 narra o desenho. O Público
Participante treina o desenho, com um tempo para seu aprendizado.
Projeção Titulo e Projeção A Galinha em Fuga sendo realizado.
Tempo:
Cenografia: Desenho na areia Som: Microfone para as crias e sons da natureza Piiiiin - FDF
Luz: Foco na Cria 2 - luz de pino PAR 56 - que conta a
historia. Luz geral da caixa de areia com dimer baixo – PC FHR. Luz geral na plateia com gelatina âmbar - PAR 64. Ação externa: O público participante que está fora do palco terá acesso ao jogo dos desenhos Sona pelo celular, podendo brincar de fazer os desenhos. Quem não tiver celular poderá desenhar os Sona com os papéis e lápis distribuídos. As projeções nesse momento serão em prol desses jogadores externos, comunicando-se com eles e aproximando-os do que está acontecendo no palco.
Galinha em fuga
Ato 2: As Crias e a Geometria Sona Cena 4 – Lusona do Papagaio
Projeção:
Ação: FDF interage. Cria 3 narra o desenho. O Público
Participante treina o desenho, com um tempo para seu aprendizado.
Titulo e Projeção Papagaio sendo realizado.
Tempo:
Cenografia: Desenho na areia Som: Microfone para as crias e sons da natureza
Luz: Foco na Cria 3 - luz de pino PAR 56 - que conta a historia. Luz geral da caixa de areia com dimer baixo – PC FHR. Luz geral na plateia com gelatina âmbar - PAR 64. Ação externa: O público participante que está fora do palco terá acesso ao jogo dos desenhos Sona pelo celular, podendo brincar de fazer os desenhos. Quem não tiver celular poderá desenhar os Sona com os papéis e lápis distribuídos. As projeções nesse momento serão em prol desses jogadores externos, comunicando-se com eles e aproximando-os do que está acontecendo no palco. Piiiin - FDF
Papagaio
Ato 2: As Crias e a Geometria Sona Projeção
Cena 5 – Lusona da Amizade Ação: FDF interage. Cria 4 narra o desenho. O Público Participante treina o desenho, com um tempo para seu aprendizado. Só para quando todos souberem.
Título e Projeção da Amizade sendo realizada.
Tempo: Tempo dilatado para aprendizado
Cenografia: Desenho na areia Som: : Microfone para as crias e sons da natureza
Luz: Foco na Cria 3 - luz de pino PAR 56 - que conta a
historia. Luz geral da caixa de areia com dimer baixo – PC FHR. Luz geral na plateia com gelatina âmbar - PAR 64. Ação externa: O público participante que está fora do palco terá acesso ao jogo dos desenhos Sona pelo celular, podendo brincar de fazer os desenhos. Quem não tiver celular poderá desenhar os Sona com os papéis e lápis distribuídos. As projeções nesse momento serão em prol desses jogadores externos, comunicando-se com eles e aproximando-os do que está acontecendo no palco. Piiiin - FDF
Amizade
Ato 3: Aprendendo o espaço Cena 1. – Levantando da areia e preparando o corpo dos participantes Ação: Todos levantam e as Crias conduzem os participantes para tirarem a areia do corpo e iniciarem o esquentamento corporal
Projeção: A projeção neste momento deve capturar a atenção da plateia que está fora do palco
Tempo:
Cenografia: Corpo no espaço Som:
Luz: Luz de chão, iluminando os pés – 4x Symetrical Floodlight 1000 + 3x Symetrical Floodlight Teclumer Ribalta 500w. Iluminação – 2x ETC Source Four (frontais) Ação externa: plateia iluminada apaga enquanto eles levantam
Ato 3: Aprendendo o espaço Cena 2 – Percurso da amizade Ação: Crias fazem marcas da malha no chão – com instrumento - e reproduzem o desenho da amizade caminhando no espaço. Depois convidam os actantes a acompanha-los e assim desenharem a Amizade com os corpos
Cenografia: Corpo no espaço Som: Ação externa: plateia em off
Projeção: A projeção neste momento deve capturar a atenção da plateia que está sentada Vídeo sobre o desenho da amizade e a relação com a tapeçaria
Tempo:
Luz: Luz de chão, iluminando os pés – 4x Symetrical Floodlight 1000 + 3x Symetrical Floodlight Teclumer Ribalta 500w. Iluminação – 2x ETC Source Four (frontais)
Ato 4 - Desenhos Luminosos Cena 1 – Volta do ancião.
Projeção: OFF
Ação: Ancião entra fazendo uma dança com os pés, depois, com as mãos iluminadas, faz o desenho da amizades no ar, sem capturar, diversas vezes.
Tempo:
Cenografia: Som: O som muda, mistura as batidas do coração do Ritual de Passagem (Ato 1) com as sonoridades das novas tecnologias Ação externa:
Luz: Luz de chão, iluminando os pés – 4x Symetrical
Floodlight 1000 + 3x Symetrical Floodlight Teclumer Ribalta 500w. Iluminação – 2x ETC Source Four (frontais). Antes do Ancião mostrar as mãos as luz apagam.
Ato 4 - Desenhos Luminosos Cena 2 – Início do Light Painting
Projeção
Ação: Crias se posicionam para a luz ser acesa. Ancião com uma luva acesa acende as luzes das Crias. Ancião sai da cena.
OFF
Tempo:
Cenografia: Som:
Ação externa: plateia em off.
Luz: Luz de pino em 25 % acende nas Crias – PAR 56 - conforme o Ancião acende a luz das crias a luz de topo apaga até ficar OFF, somente a luz das Crias.
Ato 4 - Desenhos Luminosos Projeção:
Cena 3 – Truvação e light painting Ação: participantes fazem os desenhos com a luz e seus movimentos são capturados em fotografia e projetados no telão. O último desenho é a espiral com todo o grupo, em um clima festivo.
Captura dos movimentos e projeção na tela e sistema de bloqueio de multimídia. 7x Captura.
Tempo:
Cenografia: Som: Mistura de sons ainda da Cena 1, termina com tecnofunk
Luz: fotos das capturas e luz do Público Participante e Crias.
Ato 4 - Desenhos Luminosos Cena 4 – Finalização e saída dos actantes Ação: Equipe auxilia o Público Participante na saída. Bacias com água e panos para limpar os pés são posicionadas nas bordas da caixa de areia. Trocam-se os kit luminosos pelos seus itens pessoais.
Projeção: Cachoeira da carioca
Cenografia: Som: Volta para os ruídos da natureza e cachoeira.
Luz: Projeção e geral.
Tempo:
2.
Attach ment Drawing Narratives technical notebook
.
1 Workshop ϭ tŽƌŬƐŚŽƉ ϭ͘ϭ /ƚĞŵƐ
hƐĞ
^ƉĞĐŝĨŝĐĂƚŝŽŶƐ
YƵĂŶƚŝƚLJ
^ƚĂƚƵƐ
ϰ ŚŽƵƌƐ
sĂƌŝĂďŝůŝƚLJ͗ ϮϬϬ ƚŽ ϮϴϬ ŵŝŶƵƚĞƐ
ŵŝŶŝŵƵŵ ŽĨ ϭϬϬ ŵϸ
^ƚĂƚŝĨŝĞĚ
ϯ͕ϬϬdžϬ͕ϳϬŵ
ϭ ƵŶŝƚ ƉĞƌĨŽƌŵĂŶĐĞ
Dh ĞůŽŶŐŝŶŐƐ
Ϯ͕ϬϬdžϬ͕ϳϬŵ
ϭ ƵŶŝƚ ƉĞƌĨŽƌŵĂŶĐĞ
Dh ĞůŽŶŐŝŶŐƐ
ďůĂĐŬ ĐŚĂŝƌ ǁŝƚŚ ďĂĐŬƌĞƐƚ
ϱ ƵŶŝƚƐ ƉĞƌĨŽƌŵĂŶĐĞ
Dh ĞůŽŶŐŝŶŐƐ
ϯϯ ƵŶŝƚƐ ƉĞƌĨŽƌŵĂŶĐĞ
dŽ ƉƌŽĚƵĐĞ
ϭϮϬϬ Őƌ ƉĞƌĨŽƌŵĂŶĐĞ
dŽ ĂĐƋƵŝƌĞ͘
ϭ͘ϭ͘ϭ ZƵŶŶŝŶŐ dŝŵĞ
ϭ͘ϭ͘Ϯ ^ƉĂĐĞ
ϭ͘ϭ͘ϯ ĞƐŬ ϭ
ϭ͘ϭ͘ϰ ĞƐŬ Ϯ
ƚŚĞ ŝŶƚĞƌĂĐƚŝǀĞ ŵŝŶŝŵƵŵ ŽĨ ƉĞƌĨŽƌŵĂŶĐĞ ƐƉĂĐĞ ϭϬdžϭϬŵ ǁŽƵůĚ ďĞ ŝĚĞĂů ƚŽ ŽƌŐĂŶŝnjĞ ƚŚĞ ǁŽƌŬƐŚŽƉ ŵĂƚĞƌŝĂůƐ ƚŽ ŽƌŐĂŶŝnjĞ ƚŚĞ ǁŽƌŬƐŚŽƉ ŵĂƚĞƌŝĂůƐ
ϭ͘ϭ͘ϱ ŚĂŝƌ
ƚŽ ƐƵƉƉŽƌƚ
ŝŐŝƚĂů ĞƐŝŐŶ ϭ͘ϭ͘ϲ WĂƚƚĞƌŶ ƵƐŚŝŽŶ ŽǀĞƌ
ƚŽ ƐƚĂLJ ĐŽŵĨŽƌƚĂďůĞ ͮ ĂƐƐŽĐŝĂƚĞĚ ϱϬdžϱϬĐŵ ƉƌŽĚƵĐƚ
WŽůLJĞƐƚĞƌ Žƌ ŽƚƚŽŶ ƚŽ ƐƚƵĨĨ ĐƵƐŚŝŽŶ ϭ͘ϭ͘ϳ &ŝďƌĞ ĨŽƌ ƵƐŚŝŽŶ ĐŽǀĞƌƐ &ŝůůŝŶŐƐ
ϱϬŐƌ ͮ ĐƵĐŚŝŽŶ
ŽƵƌƐĞǁĂƌĞ ĂďŽƵƚ Ζ^ŽŶĂ 'ĞŽŵĞƚƌLJΖ ĨƌŽŵ ŶŐŽůĂ ĂŶĚ ϭ͘ϭ͘ϴ ΖWŽŝŶƚ ĂŶĚ >ŝŶĞΖ ĨƌŽŵ <ĂŶĚŝŶƐŬLJΖƐ dŚĞŽƌLJ
ďƵůůĞƚ ũŽƵƌŶĂů ŶŽƚĞŬ ϱ͕ ϭϬ ƉĂŐĞƐ͕ ďƌŽǁŶ ŬƌĂĨƚ ϯϯ ƵŶŝƚƐ ƉĂƉĞƌ ;ϭϳͲƉƚͿ͕ ĐŽůŽƌ ƉƌŝŶƚ
dŽ ƉƌŽĚƵĐĞ
ϭ͘ϭ͘ϵ ƌĂǁŝŶŐ EŽƚĞŬ
ďƵůůĞƚ ũŽƵƌŶĂů ŶŽƚĞŬ ϱ ĚŽƚƚĞĚ ŐƌŝĚ ƉĂƉĞƌ
ϯϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ďůĂĐŬ͕ Ϯ
ϯϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ϭ ƵŶŝƚ ƉĞƌĨŽƌŵĂŶĐĞ
dŽ ƉƌŽĚƵĐĞ
/ƚĞŵ Ϯ͘ϯ ƉĞƌĨŽƌŵĂŶĐĞ
ƚ
/ƚĞŵ Ϯ͘ϰ ƉĞƌĨŽƌŵĂŶĐĞ
ƚ
/ƚĞŵ Ϯ͘ϱ ƉĞƌĨŽƌŵĂŶĐĞ
ƚ
ϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ϮϬ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ϭ͘ϭ͘ϭϬ WĞŶĐŝů
ϭ͘ϭ͘ϭϭ ŝŐŝƚĂů 'ĂŵĞ >ŝŐŚƚ ĞƐŝŐŶ ϭ͘ϭ͘ϭϮ ƋƵŝƉŵĞŶƚƐ ĂŶĚ DĂƚĞƌŝĂůƐ
ϭ͘ϭ͘ϭϯ ^ŽƵŶĚ ƋƵŝƉŵĞŶƚƐ
ϭ͘ϭ͘ϭϰ
DƵůƚŝŵĞĚŝĂ ƋƵŝƉŵĞŶƚƐ
ϭ͘ϭ͘ϭϱ ŽůŽƌĨƵů dĂƉĞ
ϭ͘ϭ͘ϭϲ
EĞŽŶ ŽůŽƌ &ĂĐĞ ĂŶĚ ŽĚLJ DĂŬĞƵƉ
ϭ͘ϭ͘ϭϳ ŽĨĨĞĞ ƌĞĂŬ
Drawing Narratives from Sand to Light
ĞdžƉĞƌŝŵĞŶƚƐ ǁŝƚŚ Ζ^ŽŶĂ 'ĞŽŵĞƚƌLJΖ ĨƌŽŵ ŶŐŽůĂ ĂŶĚ ΖWŽŝŶƚ ĂŶĚ >ŝŶĞΖ ĨƌŽŵ <ĂŶĚŝŶƐŬLJΖƐ dŚĞŽƌLJ
ŝŶƚĞƌĂĐƚŝǀĞ ƉĞƌĨŽƌŵĂŶĐĞ ĞƋƵŝƉŵĞŶƚ ŝŶƚĞƌĂĐƚŝǀĞ ƉĞƌĨŽƌŵĂŶĐĞ ĞƋƵŝƉŵĞŶƚ ŝŶƚĞƌĂĐƚŝǀĞ ƉĞƌĨŽƌŵĂŶĐĞ ĞƋƵŝƉŵĞŶƚ ĐŽůŽƌƐ͗ ǁŚŝƚĞ͕ LJĞůůŽǁ ĂŶĚ ƐŝůǀĞƌ ͮ ƐŝnjĞ͗ Ϯ /ŶĐŚĞƐ dž ϯϬ zĂƌĚƐ ŐůŽǁ ŝŶ ƚŚĞ ĚĂƌŬ ͮ ƌĞĂĐƚ ƚŽ Ƶǀ ůĂŵƉ
ǁĂƚĞƌ͕ ĐŽĨĨĞĞ͕ ĨŽƌ ϮϬ ƉĂƌƚŝĐŝƉĂŶƚƐ ϯϯ ƉĞŽƉůĞ ͮ ϯϬ ŶĂƚƵƌĂů ũƵŝĐĞƐ͕ ŶƵƚƐ н ϭϯ ĐŽŵƉŽŶĞŶƚƐ ŵŝŶƵƚĞƐ ĂŶĚ ĐĂŬĞƐ
dŽ ĂĐƋƵŝƌĞ͘
2 Interactive performance /ŶƚĞƌĂĐƚŝǀĞ Ϯ WĞƌĨŽƌŵĂŶĐĞ Ϯ͘ϭ ^ƚĂŐĞ
hƐĞ
^ƉĞĐŝĨŝĐĂƚŝŽŶƐ
Ϯ͘ϭ͘ϭ ZƵŶŶŝŶŐ dŝŵĞ
YƵĂŶƚŝƚLJ
^ƚĂƚƵƐ
ϵϬ ŵŝŶƵƚĞƐ
sĂƌŝĂďŝůŝƚLJ͗ ϳϬ ƚŽ ϭϭϬ ŵŝŶƵƚĞƐ
Ϯ͘ϭ͘Ϯ ^ƉĂĐĞ
/^< dŚĞĂƚƌĞ ŵŝŶŝŵƵŵ ŽĨ Dh ǁŽƵůĚ ďĞ ϭϭdžϮϬdžϱ;ŚͿŵ ŝĚĞĂů
ŵŝŶŝŵƵŵ ŽĨ ϮϮϬ ŵϸ
^ƚĂƚŝĨŝĞĚ
Ϯ͘ϭ͘ϯ ƌĞǁ
ƐƚĂŐĞ ͮ ďĂĐŬƐƚĂŐĞ ͮ ĐŽŶƚƌŽů ƚĂďůĞƐ
ϭϯ ĐŽŵƉŽŶĞŶƚƐ
WƌŽƐƉĞĐƚĞĚ
ϭϮ ŐƵĞƐƚƐ
^ƚĂƚŝĨŝĞĚ
ϲϮ ƉĞŽƉůĞ
>ŝŵŝƚĞĚ
ϯϯ ƵŶŝƚƐ ǁŽƌŬƐŚŽƉ н Ϯϵ ŶĞǁ ŝƚĞŵƐ с ϲϮ ŝƚĞŵƐ
dŽ ƉƌŽĚƵĐĞ
ƉƌĞĨĞƌĞŶĐĞ͗ ƚŚŽƐĞ ǁŚŽ ǁĞƌĞ Ăƚ ƚŚĞ ǁŽƌŬƐŚŽƉ
Ϯ͘ϭ͘ϰ /ŶƚĞƌĂĐƚŝǀĞ WƵďůŝĐ Ϯ͘ϭ͘ϱ ƵĚŝĞŶĐĞ ŝŐŝƚĂů ĞƐŝŐŶ Ϯ͘ϭ͘ϲ WĂƚƚĞƌŶ ƵƐŚŝŽŶ ŽǀĞƌ
ƚŽ ƐƚĂLJ ĐŽŵĨŽƌƚĂďůĞ ͮ ĂƐƐŽĐŝĂƚĞĚ ϱϬdžϱϬĐŵ ƉƌŽĚƵĐƚ
WŽůLJĞƐƚĞƌ Žƌ ŽƚƚŽŶ ƚŽ ƐƚƵĨĨ ĐƵƐŚŝŽŶ Ϯ͘ϭ͘ϳ &ŝďƌĞ ĨŽƌ ƵƐŚŝŽŶ ĐŽǀĞƌƐ &ŝůůŝŶŐƐ
ϱϬŐƌ ͮ ĐƵĐŚŝŽŶ
ϭϮϬϬ Őƌ ǁŽƌŬƐŚŽƉ dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘ϭ͘ϴ ĞƐŬ ϭ
ƚŽ ƐƵƉƉŽƌƚ
ϯ͕ϬϬdžϬ͕ϳϬŵ
ϭ ƵŶŝƚ ǁŽƌŬƐŚŽƉ
Dh ĞůŽŶŐŝŶŐƐ
Ϯ͘ϭ͘ϵ ĞƐŬ Ϯ
ƚŽ ƐƵƉƉŽƌƚ
Ϯ͕ϬϬdžϬ͕ϳϬŵ
ϭ ƵŶŝƚ ǁŽƌŬƐŚŽƉ
Dh ĞůŽŶŐŝŶŐƐ
Ϯ͘ϭ͘ϭϬ ŚĂŝƌ
ƚŽ ƐƵƉƉŽƌƚ
ďůĂĐŬ ĐŚĂŝƌ ǁŝƚŚ ďĂĐŬƌĞƐƚ
ϱ ƵŶŝƚƐ ǁŽƌŬƐŚŽƉ Dh ĞůŽŶŐŝŶŐƐ
Ϯ͘ϭ͘ϭϭ tĂůŬŝĞ dĂůŬŝĞ
ĐŽŵŵƵŶŝĐĂƚŝŽŶ
ďLJ ƌĂĚŝŽ
ϱ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘ϭ͘ϭϮ WŚŽŶĞƐ
ĐŽŵŵƵŶŝĐĂƚŝŽŶ
ďLJ ƌĂĚŝŽ
ϱ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘ϭ͘ϭϯ &ŽůĚĞƌ
ƚŽ ŝŶƚĞƌĂĐƚ ǁŝƚŚ ƚŚĞ ĂƵĚŝĞŶĐĞ ͮ ƐĐƌŝƉƚ ĂŶĚ YƌĐŽĚĞ ͮ ĞƚŚŶŽŵĂƚŚĞŵĂƚŝĐƐ ŐĂŵĞ
dƌŝ &ŽůĚ DĞŶƵ ͮ ϭϬ͘ϵϴΗ dž ϴ͘ϱΗ ͮ ϭϬ ƉĂŐĞƐ ͮ ďƌŽǁŶ ϭϬϬ ĐŽƉŝĞƐ ŬƌĂĨƚ ƉĂƉĞƌ ϭϳͲƉƚ ͮ ĐŽůŽƌ ƉƌŝŶƚ
Ϯ͘ϭ͘ϭϰ ŝŐŝƚĂů 'ĂŵĞ
ƚŽ ŝŶƚĞƌĂĐƚ ǁŝƚŚ ƚŚĞ Ͳ ĂƵĚŝĞŶĐĞ
Drawing Narratives from Sand to Light
ϭ ƵŶŝƚ ǁŽƌŬƐŚŽƉ
dŽ ƉƌŽĚƵĐĞ
dŽ ƉƌŽĚƵĐĞ
Ϯ͘Ϯ ^ĐĞŶĂƌŝŽ
^ƉĞĐŝĨŝĐĂƚŝŽŶƐ
YƵĂŶƚŝƚLJ
^ƚĂƚƵƐ
,ĂŶĚŵĂĚĞ ŽƚƚŽŶ ŵĂƉ ƉƌŽũĞĐƚŝŽŶ Ϯ͘Ϯ͘ϭ tŚŝƚĞ &ĂďƌŝĐ ƐĐƌĞĞŶ ^ĐƌĞĞŶ
ϱdžϯŵ
ϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘Ϯ͘Ϯ ŽĂƚĞĚ ^ƚĞĞů ĂďůĞ
ŵĂƉ ƉƌŽũĞĐƚŝŽŶ ƐĐƌĞĞŶ ƐƵƉƉŽƌƚ
ϭͮϭϲΗ
ϭϬ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
^ƚĞĞů KǀĂů Ϯ͘Ϯ͘ϯ ĂƌĂďŝŶĞƌ ǁŝƚŚ dŚƌĞĂĚĞĚ >ŽĐŬ
ŵĂƉ ƉƌŽũĞĐƚŝŽŶ ƐĐƌĞĞŶ ƐƵƉƉŽƌƚ
ϭͮϴͲŝŶĐŚ
ϭϴ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ůƵŵŝŶŝƵŵ >ĂƚĐŚĞƐ ŵĂƉ ƉƌŽũĞĐƚŝŽŶ ƚŽ ^ƚĞĞů ĂďůĞ ƐĐƌĞĞŶ ƐƵƉƉŽƌƚ
ϭͮϭϲΗ
ϭϴ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ŵĂƉ ƉƌŽũĞĐƚŝŽŶ ƐĐƌĞĞŶ ƐƵƉƉŽƌƚ
ϰ͕ϮϬŵ
ϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ƚŽ ĨŽŽƌ ƉƌŽƚĞĐƚŝŽŶ
ϭϬdžϭϬŵ ͮ ǁŚŝƚĞ ĐŽůŽƌ
ϭ ƵŶŝƚ
dŽ ĂĐƋƵŝƌĞ͘
ĨŽƌ ĨŝdžŝŶŐ ƚŚĞ ĐĂŶǀĂƐ
ƌŽůŽ
ϲ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ƚŽ ƐĂŶĚďŽdž
ϴdžϴŵ
ϭ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ƚŽ ƐĂŶĚďŽdž
Ϯ͕ϱdžϭϬdžϯϬϬĐŵ
ϴ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ƚŽ ƐĂŶĚďŽdž
ϭ͘ϭͬϮΗ ϵϬǑ
ϰ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ϯϬŵϸ Žƌ ϮŵϹ
ϭϮϬ ƉĂĐŬĂŐĞ ƚŚĞ ϮϬŬŐ Žƌ Ϯ͘ϱ ƚŽŶŶĞƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘Ϯ͘ϰ
Ϯ͘Ϯ͘ϱ /ƌŽŶ ZŽĚƐ tŚŝƚĞ >ŝŶŽůĞƵŵ ĂŶǀĂƐ tŚŝƚĞ >ŝŶŽůĞƵŵ Ϯ͘Ϯ͘ϳ dĂƉĞ tŚŝƚĞ WůĂƐƚŝĐ Ϯ͘Ϯ͘ϴ ĂŶǀĂƐ Ϯ͘Ϯ͘ϲ
Ϯ͘Ϯ͘ϵ WŝŶĞ ŽĂƌĚ Ϯ͘Ϯ͘ϭϬ ,ŝŶŐĞ
hƐĞ
Ϯ͘Ϯ͘ϭϭ &ŝŶĞ tĂƐŚĞĚ ^ĂŶĚ ƚŽ ƐĂŶĚďŽdž
Ϯ͘Ϯ͘ϭϮ ŚĞƐƚ
ƚŽ ƐƚŽƌĞ ƐŚŽĞƐ ĂŶĚ ϳϬdžϱϬdžϰϱĐŵ ŽƚŚĞƌ ďĞůŽŶŐŝŶŐƐ
Ϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘Ϯ͘ϭϯ ĞŶĐŚ
ƚŽ ƐƵƉƉŽƌƚ
ϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘Ϯ͘ϭϰ tĂƚĞƌŝŶŐ ĐĂŶ
ƚŽ ǁĞƚ ƚŚĞ ƐĂŶĚ
ϰ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘Ϯ͘ϭϱ DĞƚĂů ĂƐŝŶ
ƚŽ ǁĂƐŚ LJŽƵƌ ĨĞĞƚ
Ϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘Ϯ͘ϭϲ &ůŽŽƌĐůŽƚŚ ͮ dŽǁĞů
ƚŽ ǁĂƐŚ LJŽƵƌ ĨĞĞƚ
ϰ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘Ϯ͘ϭϳ >ĞĚ ,ĞĂĚďĂŶĚ
ĐŽƐƚƵŵĞ
ϮϬ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Ϯ͘Ϯ͘ϭϴ ZĂŬĞ
ƚŽ ƐƉƌĞĂĚ ƚŚĞ ƐĂŶĚ
ϰ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
Drawing Narratives from Sand to Light
ǁŽŽĚ ďĞŶĐŚ
2.2 Layout | stage level
service access 1
backstage screen
service access 3 service access 2
stage
control table director + sound
control table mul�media + light
cushions [no chairs]
placed sea�ng carriagies
DISK Theatre DAMU 1:125
Drawing Narratives from Sand to Light
public access
Ϯ͘ϯ
>ŝŐŚƚ ĞƐŝŐŶ ƋƵŝƉŵĞŶƚƐ
hƐĞ
^ƉĞĐŝĨŝĐĂƚŝŽŶƐ
YƵĂŶƚŝƚLJ
^ƚĂƚƵƐ
Ϯ͘ϯ͘ϭ
d ^ŽƵƌĐĞ &ŽƵƌ ^ƚĂŐĞ >ŝŐŚƚŶŝŶŐ Ͳ ŽŽŵ ϭϱͲϯϬ ϳϱϬt ĐĞŶƚĞƌ
ďƌŝĚŐĞƐ ĂŶĚ ĐĂƚǁĂůŬƐ
Ϯ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
Ϯ͘ϯ͘Ϯ
d ^ŽƵƌĐĞ &ŽƵƌ ZĞǀŽůƵƚŝŽŶ ϳϱϬt
^ƚĂŐĞ >ŝŐŚƚŶŝŶŐ Ͳ ĐŽƌƌŝĚŽƌ
ďƌŝĚŐĞƐ ĂŶĚ ĐĂƚǁĂůŬƐ
ϰ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
^ƚĂŐĞ >ŝŐŚƚŶŝŶŐ Ͳ ĂŐĂŝŶƐƚ ƚŚĞ ůŝŐŚƚ
ďƌŝĚŐĞƐ ĂŶĚ ĐĂƚǁĂůŬƐ
ϰ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
ϵ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
ϰ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
ϭϬ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
ϰ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
ϰ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
&Žƌ Ϯ͘ϯ͘ϲ ĂŶĚ Ϯ͘ϯ͘ϳ ĨůŽŽƌ
ϳ ƵŶŝƚ
Dh ĞůŽŶŐŝŶŐƐ
^ƚĂŐĞ
ϭ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
ϴ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
^ĞůĞĐŽŶ WĂĐŝĨŝĐ Ϯ͘ϯ͘Ϯ ŽŽŵ ϭϰͲϯϱ ϭϬϬϬt
^ƚĂŐĞ >ŝŐŚƚŶŝŶŐ Ͳ ƚŽƉ ůŝŐŚƚ ŝŶ ƚŚĞ W Z ϲϰ >ŽŶŐ Ϯ͘ϯ͘ϯ ĐĞŶƚĞƌ ĞůĞĐƚƌŝĐ ĨůLJ ďĂƌƐ ϭϬϬϬt ƵĚŝĞŶĐĞ >ŝŐŚƚŝŶŐ Ͳ ŐĞŶĞƌĂů ^ƚĂŐĞ >ŝŐŚƚŶŝŶŐ Ͳ Ϯ͘ϯ͘ϰ W Z ϱϲ >ŽŶŐ ϱϬϬt ƚŽƉ ůŝŐŚƚ Ăƚ ƚŚĞ ĞůĞĐƚƌŝĐ ĨůLJ ďĂƌƐ ƐŝĚĞƐ ^ƚĂŐĞ >ŝŐŚƚŶŝŶŐ Ͳ W Z ϯϲ ;ƉŝŶ ƐƉŽƚͿ Ϯ͘ϯ͘ϱ ƚŽƉ ůŝŐŚƚ Ăƚ ƚŚĞ ĞůĞĐƚƌŝĐ ĨůLJ ďĂƌƐ ϱϬt ƐŝĚĞƐ ^LJŵĞƚƌŝĐĂů &ůŽŽĚůŝŐŚƚ ^ƚĂŐĞ >ŝŐŚƚŶŝŶŐ Ͳ Ϯ͘ϯ͘ϲ ĨůŽŽƌ dĞĐůƵŵĞŶ ZŝďĂůƚĂ ƌŝďĂůƚĂ ϱϬϬt Ϯ͘ϯ͘ϳ
^LJŵĞƚƌŝĐĂů &ůŽŽĚůŝŐŚƚ ϭϬϬϬt
Ϯ͘ϯ͘ϴ ^ƚĂŐĞ ^ƚĂŶĚ ͘d͘^͘ Ϯ͘ϯ͘ϵ Ϯ͘ϯ͘ϭϬ
,ĂnjĞƌ ,ĂnjĞ ĂƐĞ ;Ϯ Dy ĐŚĂŶŶĞůƐͿ
^ƚĂŐĞ >ŝŐŚƚŶŝŶŐ Ͳ ĂŐĂŝŶƐƚ ƚŚĞ ůŝŐŚƚ
ĨůŽŽƌ
ĨůŽŽƌ
ŵďĞƌ 'Ğů ĂŶĚ 'Ğů ƵĚŝĞŶĐĞ >ŝŐŚƚŶŝŶŐ ĨŽƌ W Z ϲϰ >ŽŶŐ &ƌĂŵĞ Ͳ ŐĞŶĞƌĂů
Drawing Narratives from Sand to Light
2.3 Light Design Equipments | stage level
(3x) Symetrical Floodlight 1000w
(4x) Symetrical Floodlight Teclumer Ribalta 500w
DISK Theatre DAMU 1:125
Drawing Narratives from Sand to Light
2.3 Light Design Equipments | catwalks level
(9x) PAR 64 long 1000W (amber gel)
(4x) PAR 56 short 500W
(10x) PAR 36 (pin spot) 50W
(4x) Selecon Pacific Zoom 14ยบ-35ยบ
(2x) ETC Source Four Zoom 15ยบ-30ยบ
(4zx) ETC Source Four Revolution 750W
(4x) PC FHR 1000W with barndoors
DISK Theatre DAMU 1:125
Drawing Narratives from Sand to Light
Ϯ͘ϰ ^ŽƵŶĚ ƋƵŝƉŵĞŶƚƐ hƐĞ Ϯ͘ϰ͘ϭ W ^LJƐƚĞŵ
^ŽƵŶĚ WƌŽũĞĐƚŽƌ
Ϯ͘ϰ͘Ϯ ^ŽƵŶĚ WƌŽĐĞƐƐŽƌ
^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ
Ϯ͘ϰ͘ϯ DŝdžĞƌ
^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ
Ϯ͘ϰ͘ϰ <ŽŵƉůĞƚĞ ƵĚŝŽ ϲ
^ƉĞĐŝĨŝĐĂƚŝŽŶƐ
YƵĂŶƚŝƚLJ
: > DWϰϭϮ ;ϯϱϬ tͿ ϰ ƵŶŝƚƐ ƵǀŝdƌĂŶ dŽŽů Ždž s džϳ ůůĞŶ Θ ,ĞĂƚŚ W ϭϮͲ W
^ƚĂƚƵƐ Dh ĞůŽŶŐŝŶŐƐ
ϭ ƵŶŝƚ
Dh ĞůŽŶŐŝŶŐƐ
ϭ ƵŶŝƚ
Dh ĞůŽŶŐŝŶŐƐ
^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ
ϭ ƵŶŝƚ
>d ĞůŽŶŐŝŶŐƐ
Ϯ͘ϰ͘ϱ DĂƐĐŚŝŶĞ D<Ϯ
>ŝǀĞ WĞƌĨŽƌŵĂŶĐĞ
ϭ ƵŶŝƚ
>d ĞůŽŶŐŝŶŐƐ
Ϯ͘ϰ͘ϲ dƌĂŬƚŽƌ <ŽŶƚƌŽů ^Ϯ
>ŝǀĞ WĞƌĨŽƌŵĂŶĐĞ
Ϯ ƵŶŝƚƐ
>d ĞůŽŶŐŝŶŐƐ
Ϯ͘ϰ͘ϳ WƌĞĂŵƉůŝĨŝĞƌƐ
^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ
ZKtE y>^ϲϬϮ
Ϯ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
dƌƵĞ ŝǀĞƌƐŝƚLJ ^ŝŐŶĂů ZĞĐĞŝǀĞƌ
^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ
^ EE, /^ Z tϯϬϬ 'Ϯ
ϭ ƵŶŝƚ
Dh ĞůŽŶŐŝŶŐƐ
Ϯ͘ϰ͘ϵ ^ƉĞĂŬŽŶ ĂďůĞ
^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ ŽŶŶĞĐƚŝŽŶƐ
ϭϬŵ
ϰ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ ŽŶŶĞĐƚŝŽŶƐ
ϰŵ
Ϯ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ϰdž ϭϬŵ͖ ϰdž ϰŵ
ϴ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
ϭϬŵ
ϴ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘
DŝŬƌŽĨŽŶ D< Ϯ
ϱ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
ĐƚŽƌƐ sŽŝĐŝŶŐ
ϱ ƵŶŝƚƐ
Dh ĞůŽŶŐŝŶŐƐ
Ϯ͘ϰ͘ϭϱ EŽƚĞŬ
>ŝǀĞ WĞƌĨŽƌŵĂŶĐĞ
ϭ ƵŶŝƚ
>d ĞůŽŶŐŝŶŐƐ
Ϯ͘ϰ͘ϭϲ ,ĞĂĚƉŚŽŶĞƐ
>ŝǀĞ WĞƌĨŽƌŵĂŶĐĞ &ĞĞĚďĂĐŬ
Ϯ ƵŶŝƚƐ
>d ĞůŽŶŐŝŶŐƐ
Ϯ͘ϰ͘ϴ
Ϯ͘ϰ͘ϭϬ D/ / ĂďůĞ Ϯ͘ϰ͘ϭϭ WϭϬ Ͳ WϭϬ ĂďůĞ Ϯ͘ϰ͘ϭϮ y>Z ĂďůĞ
^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ ŽŶŶĞĐƚŝŽŶƐ ^ŽƵŶĚ ^ƚƌƵĐƚƵƌĞ ŽŶŶĞĐƚŝŽŶƐ
Ϯ͘ϰ͘ϭϯ >ĂƉĞů DŝĐƌŽƉŚŽŶĞƐ ĐƚŽƌƐ sŽŝĐŝŶŐ Ϯ͘ϰ͘ϭϰ
>ĂƉĞů tŝƌĞůĞƐƐ dƌĂŶƐŵŝƚƚĞƌ
Drawing Narratives from Sand to Light
2.4
Sound Equipments Plan
(4x) JBL MP412 (350V)
Traktor Kontrol S2
Maschine MK2
Allen Heath PA12-CP
Sennheiser EW300 G2
Komplete Audio 6
Crown XLS602 & Auvitran AVBx7
DISK Theatre DAMU 1:125
Drawing Narratives from Sand to Light
Ϯ͘ϱ sŝĚĞŽ ƋƵŝƉŵĞŶƚƐ hƐĞ
Ϯ͘ϱ͘ϭ
,ŽŵĞ dŚĞĂƚĞƌ WƌŽũĞĐƚŽƌ
Ϯ͘ϱ͘Ϯ , D/ ĂďůĞ
sŝĚĞŽ ĚŝƐƚƌŝďƵƚŝŽŶ Ϯ͘ϱ͘ϯ ĂĚĂƉƚĞƌ
Ϯ͘ϱ͘ϰ ŝŐŝƚĂů ĂŵĞƌĂ
Ϯ͘ϱ͘ϱ &ŝƐŚ LJĞ >ĞŶƐ
Ϯ͘ϱ͘ϲ
ĂďůĞ h^ ͮ h^ ŵŝŶŝ
Ϯ͘ϱ͘ϳ džƚĞŶƐŝŽŶ ĐĂďůĞ
Ϯ͘ϱ͘ϴ EŽƚĞŬ
Ϯ͘ϱ͘ϵ EŽ ƌĞĂŬ
Drawing Narratives from Sand to Light
^ƉĞĐŝĨŝĐĂƚŝŽŶƐ
YƵĂŶƚŝƚLJ
^ƚĂƚƵƐ
ϯ͘ϬϬϬ >ƵŵĞŶƐ ͮ dŚƌŽǁ ZĂƚŝŽ͗ ϭ͕ϱ͗ϭ ϯ ƵŶŝƚƐ ͮ ZĞƐŽůƵƚŝŽŶ͗ ϰ͗ϯ ͮ /ŶƉƵƚ , D/
dŽ ĂĐƋƵŝƌĞ͘ ;,Ą Ƶŵ ƉƌŽũĞƚŽƌ ŶĂ Dh͕ ƉŽƌĠŵ ŶĆŽ ĐŽŶƚĂƌ ĐŽŵ ĞůĞ ƉŽŝƐ ŚĄ Ă ƉŽƐƐŝďŝůŝĚĂĚĞ ĚĞ ĞƐƚĂƌ ĨŝdžŽ͘Ϳ
sĞƌƐŝŽŶ ϭ͘ϰ ͮ ϭϬŵ
ϰ ƵŶŝƚƐ
dŽ ĂĐƋƵŝƌĞ͘ ; ůŝƐƚĂ ĚĂ Dh ŶĆŽ ĞƐƉĞĐŝĨŝĐĂ ŽƐ ĐĂďŽƐ ĚŝƐƉŽŶşǀĞŝƐͿ
ϭ ƵŶŝƚ
dŽ ĂĐƋƵŝƌĞ͘
ϯ ƵŶŝƚƐ
>d ďĞůŽŶŐŝŶŐƐ͘
^ŽŶLJ
ϭ ƵŶŝƚ
>d ďĞůŽŶŐŝŶŐƐ͘
ƚŽ ĐŽŶŶĞĐƚ ƚŚĞ ϭϬŵ ǀŝĚĞŽ ĐĂŵĞƌĂ ƚŽ W
ϭ ƵŶŝƚ
>d ďĞůŽŶŐŝŶŐƐ͘
sŝĚĞŽ DĂƉƉŝŶŐ
ƚŽ ĐŽŶŶĞĐƚ ƚŚĞ ƉƌŽũĞĐƚŽƌƐ ƚŽ W ůůŽǁƐ ƚŚĞ W ƚŽ ĐŽŶŶĞĐƚ ƚŽ ŵŽƌĞ ƚŚĂŶ ƚǁŽ ƉƌŽũĞĐƚŽƌƐ Ăƚ ŽŶĐĞ >ŝŐŚƚ ƉĂŝŶƚŝŶŐ ĐĂƉƚƵƌĞ ĂŶĚ ĞǀĞŶƚ ƌĞĐŽƌĚŝŶŐ ƚŽ ŝŶĐƌĞĂƐĞ ƚŚĞ ƐŝnjĞ ŽĨ ƚŚĞ ĐĂƉƚƵƌĞĚ ŝŵĂŐĞ
DĂƚƌŽdž dƌŝƉůĞŚĞĂĚϮŐŽ ŝŐŝƚĂů ĚŝƚŝŽŶ džƚĞƌŶĂů EKE dϱŝ ͮ ϭϴͲ ϱϱŵŵ >ĞŶƐ н &ŝƐŚ LJĞ
ƚŽ ĐŽŶŶĞĐƚ ƚŚĞ ĞƋƵŝƉŵĞŶƚƐ ƚŽ ƚŚĞ ϭϬŵ ϲ ƵŶŝƚƐ ĞŶĞƌŐLJ ϭϲ' Z D ͮ /ŶƚĞů ƚŽ ƉƌŽĐĞƐƐ ƚŚĞ ŽƌĞ ŝϳ ͮ EǀŝĚŝĂ ůŝŐŚƚƉĂŝŶƚŝŶŐ ĂŶĚ ϭ ƵŶŝƚ 'ĞĨŽƌĐĞ 'dy ϭϬϱϬ ǀŝĚĞŽƐ ϰ' ƚŽ ƐĞĐĐƵƌĞ Ăůů ĞƋƵŝƉŵĞŶƚƐ ĨƌŽŵ ϭ ƵŶŝƚ ďůĂĐŬŽƵƚƐ
dŽ ĂĐƋƵŝƌĞ͘
>d ďĞůŽŶŐŝŶŐƐ͘
dŽ ĂĐƋƵŝƌĞ͘
2.5
Video Equipments Plan
(3x) Home Theater Projector
(1x) Notebook
(3x) Digital Camera
(1x) Fish Eye Lens
(1x) Video Distribution Adapter
(1x) NoBreak
(4x) HDMI Cable
(6x) Extension cable
(1x) USB | USBmini Cable
DISK Theatre DAMU 1:125
Drawing Narratives from Sand to Light
3 Store ϯ ^ƚŽƌĞ ϯ͘ϭ /ƚĞŵƐ ϯ͘ϭ͘ϭ ZƵŶŶŝŶŐ dŝŵĞ
ϯ͘ϭ͘Ϯ ^ƉĂĐĞ
ϯ͘ϭ͘ϯ ^ŚĞůĨ
ϯ͘ϭ͘ϰ ĞƐŬ
Drawing Narratives from Sand to Light
hƐĞ ďĞĨŽƌĞ ĂŶĚ ĂĨƚĞƌ ŝŶƚĞƌĂĐƚŝǀĞ ƉĞƌĨŽƌŵĂŶĐĞ ƚŽ ƐĞůů ĂƐƐŽĐŝĂƚĞĚ ƉƌŽĚƵĐƚƐ ŽĨ Η ƌĂǁŝŶŐ EĂƌƌĂƚŝǀĞƐΗ ͮ ƚŽ ƉƌŽŵŽƚĞ ƚŚĞ ƉĞƌĨŽƌŵĂŶĐĞ͕ ƚŚĞ >d ͕ WY ϮϬϭϵ ͮ ƚŽ ĚŝƐƐĞŵŝŶĂƚĞ ƚŚĞ ƚƌĂĚŝƚŝŽŶ ͮ ƚŽ ďƌŝŶŐ ĞĐŽŶŽŵŝĐ ƐƵƐƚĂŝŶĂďůĞ ĨŽƌ ƚŚĞ ŐƌŽƵƉ ƚŽ ŽƌŐĂŶŝnjĞ ƚŚĞ ĂƐƐŽĐŝĂƚĞĚ ƉƌŽĚƵĐƚƐ ƚŽ ŽƌŐĂŶŝnjĞ ƚŚĞ ǁŽƌŬƐŚŽƉ ŵĂƚĞƌŝĂůƐ
^ƉĞĐŝĨŝĐĂƚŝŽŶƐ
YƵĂŶƚŝƚLJ
^ƚĂƚƵƐ
ϭ ŚŽƵƌ
džƚĞŶĚĂďůĞ
ŵŝŶŝŵƵŵ ŽĨ ϯdžϰŵ
ŵŝŶŝŵƵŵ ŽĨ ϭϮ ŵϸ dŽ ƉƌŽĚƵĐĞ
ϭ͕ϮϬdžϬ͕ϱϬdžϮ͕ϬϬŚ ŵ
ϭ ƵŶŝƚ
dŽ ƉƌŽĚƵĐĞ
Ϯ͕ϬϬdžϬ͕ϳϬŵ
ϭ ƵŶŝƚ
dŽ ƉƌŽĚƵĐĞ