Experimental Dance Theatre

Door Timo op zaterdag 27 april 2013 12:33 - Reacties (2)
Categorie: -, Views: 2.195

REFERENCE video #2:

First example of a actor-driven projection. The scenic design consists of a projection panel that is being projected on from the front. Entire performance is based upon actions and specific details that the actor is required to perform. The interesting thing is the effective use of shadows as an advantage and possibly as ‘positioning’ point for the software that interprets the actors movement.

This projection keeps the actor and projection interconnected. on a very high level. Even the use of ‘fake’ persona’s is used effectively to give the actor a image to combat. I like the change of visual style which further enhances the viewers pleasure by changing the projection very fast every time initiated by the actor.

By using the actor to initiate the fast interactions it almosts seems like 2 way communication. This is something I think is very important because it gives the projection the quality of an 'actor'

Analysis of projections #La Fura del Baus

Door Timo op donderdag 25 april 2013 15:50 - Reacties (2)
Categorie: CV & Artistieke Werkomschrijving, Views: 1.919

REFERENCE video #1: Der Ring des Nibelungen by La Fura del Baus
Global Analysis:
The scenic design consists of a room that is designed specifically to be projected in. The projection comes from a projector behind the screen, thus minimizing shadows. This enables actors to stand and be supported by structures real close to the backdrop. The backdrop is illuminated by the moving image and implies in some cases an internal journey of a character. By raising structures above the playing level and letting actors play in mid-air in front of the projection it has more power over the actors in question. Rather peculiar because it has no inherent reason to be more believable. Something that I noted is the futuristic images used and the use of actors in water in projection #4. This gives a very special effect because the projection simulates the feeling the actors in the water are going to have. In this way the experience of the actor is visualised by a passive projection which therefore implies an effect on the audience.

Specific analysis:
Source material 1:

In this scene the projection does not have the aforementioned ‘quality’. From 00:00 till 2:00 there is no interaction between actor and projection. The light does change after 2 minutes making the room as gold as the projection that previously was shown. It’s an inversion in spatial sense.

Source material 2:

This scene consists again out of elevated actors on a platform/cage with a traveling 3D backdrop. This backdrop design suggests the movement of actors in a space or in ‘space’. The effect of this projection is the feeling that the actors themselves are moving and thus experiencing. However used in an abstract way, the feeling this provokes is a very real traveling feeling.

Source material 3:

This is the end scene of this Opera. The scene almost completely exists without projection save a small part at the end where the projection illuminates the side walls. By using this as a subtle way of lighting it’s only intended as mood/light. it has no effect whatsoever on the actors, mainly because they should and are focused on the rest of the design. The rest of the design consists in this scene of 20 people hanging in the air in their costumes. They are illuminated by strong sidelight.

General Comments:
Very well executed projection because it stays with one idea that is congruent with the image that is presented in the whole play. The projection is there to influence the viewer to feel with actors and to provide a strong narrative to the costumes. By using such elaborate costumes and posing (structures in the air, and suspension of actors in mid air.) the projection feels like a essential part of this production. I’m also very certain that this visual style has been in the design process from the start and not later ‘added in’. This can be seen in the way the costumes inspire the viewer to believe what happens in the projection. So a very impressive use of projecting moving images. The effect of suspension in mid-air and then a 3D travelling projection is very interesting.

This is a short analyis of this opera by La Fura del Baus and the usage of projections. Do you agree with me? Or have a different opinion I would like to know. I'm writing this for my final thesis. This work would otherwise be left unused and I'd like to let people read it.

Scene 1 @ IVANOVS

Door Timo op zaterdag 13 april 2013 04:18 - Reacties (6)
Categorie: Expositieteasers, Views: 2.457

Kerstmis bij Ivanov is geschreven door Anton Vvdensky een russische schrijver die in zijn tijd door het russische regime werd onderdrukt. Zijn werken zijn hierdoor weinig opgevoerd en hebben een grote politieke lading.

Dit is het beeld van scene 1:

De scene vangt aan met het binnen komen van de kinderen en het in het wit geklede kamermeisje. Dat in het begin, vrolijk begint aan haar dagtaak. In deze eerste scene wordt het meisje Sonja vermoord door het kamermeisje. Deze vind namelijk dat Sonja zich niet goed gedraagt. Het meisje sonja spreekt de woorden:
"Als dalijk iedereen met kerstmis er is, dan trek ik mijn jurk omhoog en laat ik iedereen alles zien"

Een absurdistisch geschreven satire op het communistische tijdperk.

Als iemand vragen of opmerkingen heeft hoor ik graag in de comments iets terug! Ook als je vragen hebt over wat het nou inhoud: theatervormgeving of andere vragen(praktische) laat maar komen!

De theater expositie start 3 Juni om 18.00 in Theater aan het Vrijthof in Maastricht en loopt tot 7 juni.
meer info

Artistic Resumé

Door Timo op maandag 8 april 2013 17:07 - Reageren is niet meer mogelijk
Categorie: -, Views: 1.934

Artistic Vision & Curriculum Vitae

Various disciplines affect my work for Theatre. I consider myself to be an autonomous artist that uses different media to create my art. The grey area between these areas is where the magic happens. A painting that influences a certain set-design, by colour, motive or idea or a character-photograph that influences my brain to think about a character in a more definitive voice.
It’s necessary for me to engage in other activities that influence my design language.

Currently I’m a painter, a makeup artist, a dancer, and a photographer. I combine these disciplines in my work for theatre.

Painting allows me to visualise colour and shape. Which inspires me when designing a theatrical space. The visual information that I have gained through the painting of a glass for 2 years has taught me to see interesting composition and framing.

Being a makeup artist is an easier way to paint. All the lines are there, but it’s your choice what you highlight or adjust. It’s a really free way to experience design in a more constrained way. Because of those constraints I tend to cross boundaries and edges.

Dancing teaches me what the human body is capable of and what is interesting to see. It gives me an idea about how the body can and should move when inside a room. I use the information I learn through dancing in all my disciplines but more in photography where the persons posture or gesture is frozen in time and it still has to have the power to move you.

Photography remains for me the technical perfect discipline. Which allows me to create images that inspire my work in theatre to be non-perfect. I use it to carve out characters or use it as objects/design in my theatrical spaces as seen in some of my school projects.
Photography also enables me to create my own personal mood boards using my own work and not a derivative of someone else. I use it as a technique that’s both at the start of something and at the end.

Scenography is for me the discipline where I incorporate all of the above. It’s the assimilation of all my other disciplines influencing my spaces that make interesting designs. It’s my most conceptual work.

Timo Wolthof Creative Artist at Wolthof / (photo) visual theatre and makeup Artist
TPCM Wolthof

2013-2010. Toneel Academie Maastricht Bachelor of Design, Theatre Design, Grade: Bachelor
2010-2009. Academie Beeldende Kunsten Propedeuse, Beeldende Kunsten, Propedeutic
2009-2008. Advanced Makeup Artist Course @ Marlou Reijnders
2007-2009. Photography at stichting statief Utrecht
2008-2006. Leeuwenborgh MBO4, ICT

2013. Independent Visual Artist at Wolthof / (photo) visual theatre and makeup artist.
2013-2009. Freelance (Party)Photographer at WeAretheNight
2011. Jr. Theatre Designer at Theatergroep DOX
Creation and design of Scenic interpretation of the play: InDeWar Set-building and transportation.
In collaboration with: Sassan Saghar Yaghmai(choreography), Marina Schutte (designer), Guus van Geffen (Advisor and Lightdesigner), Aram Adriaansen (Director)

2010. Internship for ABKM at Basisschool St Aloysius
Assignment to plan and design a creative concept for the children to participate in. Educational design for teaching purposes and enable children to be creative in the constraints of fashion and educationConcept The Fabric Pizza's.: The children made in groups of 2 with fabric and everything they could glue, tack, knit, sew, cut, screw or tape in groups a Pizza slice. The slices where sewed together resembling their class in all it's creativity in one circular image.
2010-2008. Make-up Artist for Photography
2008. ICT-Intern at BCT January 2008 - September 2008 (9 months)
Internship for ICT_MBO4. Implementing and designing software systems and supporting users. Aided in creation of media for HR management-software and designed systems for unattended installation of user-devices.

-Test Scores
2012. Still Life Painting as part of curriculum Score:9/10
Graded by Anja Bayerwaltes
Life Drawing June 2012 Score:8
Life drawing Classes
2011. Opera History Score:9
Assignment: Design a set for an opera of choice and present your choice of opera including writer/music analysis and how that influences your set-design.
Opera: Einstein on the Beach, Phillip Glass Genre: Minimal-music

-Skills & Expertise

Microsoft Office
Graphic Design
Acrylic Painting
Ballroom Dance
Latin Dance
Fashion Photography
Commercial Photography
Technical Photography Assisting


Door Timo op maandag 8 april 2013 17:04 - Reageren is niet meer mogelijk
Categorie: Expositieteasers, Views: 749

Ivanovs Scène 9
Walking into an elevator , standing claustrophobicly close to the actors. The elevator slowly going down, at the end of the scene when everybody dies(I'm dead they say) they walk out the elevator. After everyone died the spectators walk out themselves also 'dying'.