Tuesday, January 20, 2015

L.A Dance Project Reflection

A. Theatre in context
The L.A Dance project was a contemporary dance performance done on a proscenium stage. Although this performance is an abstract interpretation of theatre it still delivered certain elements of standard theatre to the audience. That said, the L.A dance project actually connected with my culture in many ways. I found that the first scene was a dance between lovers. Love is a universally accepted and endeavored journey which I found relevant to my world as well. In fact, love, along with hope was probably one of the main themes presented throughout the rest of the scenes. I actually learned the day after (Thanks to Mrs.Moon), that the director had dedicated one entire scene to his dying wife.

B. The process of interpreting a story and delivering a message through complete body language is technically what this performance was all about. I believe the choreographers and directors worked closely to determine what would be the best way to physicalize the messages of love, tragedy, hope, and betrayal.

C. As stated before, the performance was an entirely physicalized contemporary dance. The set design and lighting played a major role in that the dim environment and huge poster like lettering on the floor created a metaphor for the performance. The color coordination in each scene whether it was reflected on the actors themselves, the set design, or the lighting, played an important role in creating an environment and mood.

A. I learned that a message can be communicated entirely through physical means. For the first time I actually witnessed the power dance can have as a form of art. One issue I can't not mention is the fact that because dance is so open ended it can be interpreted in so many different ways and can thus stir confusion.
B. I learned that powerful gesture and body language is not only significant in dance but even in standard theatre. I personally found this important because I find myself sometimes not physically expressing myself enough and can come off to appear very awkward and strange. The ability to physically express oneself powerfully is an essential tool in any variation of theatre.
C. The use of deep colors, dim lighting, and the thick music ( jesus's blood never failed me yet) contributed to the mis en scene and created an overall performance of sorrow, hope, and most importantly love.
D. The director linked the connection between gesture and message well in order to deliver this contemporary dance performance.

Monday, January 19, 2015

Sound Design Practitioner: Abe Jacob (part of the arrival)

- started his career mixing sound for rock stars like Jimi Hendrix
- revolutionized theatrical audio
- worked on broadway
- first to receive sound billing credit on Broadway. This allowed for the next sound designers to receive billing

His Sound Style
-Big sound
-not loud
-not distorted
-used sound technology like (DAW), high quality loud speakers, and CD's



Sunday, January 18, 2015

Arrival Portfolio

SUMMARY OF GROUP'S PITCHES

Pitch Guidelines
- powerpoint/mood board
- production concept

Resources
1.) Mrs. Moon
2.) Textbook
3.) Mr. Roddick and Mr. Black

-What are you supposed to show them
-Viability and feasibility of ideas
- Graphs and visuals

Directors Pitch (Sarah)
-Pina Bausch inspiration
-Butoh
-Physical theatre
-Take the audience on a journey
- make them feel like they have arrived

Costume Pitch (Bianca and David)
- preserve color tone from book
- make up
- white clown make up
- make it really weird
- creepy almost
- slowly as the father assimilates into the new environment he gets make up on his face too

Set Design Pitch (Daniel and Haejoo)
- artificial depth of field
- rusty colors
- easy to move around
- try to stick to the book in terms of tone and mood
- place audience on opposite side of entrance

Light Design Pitch (Erin and Aidan)
-  need a make shift scrim
- want to make sharp lighting
- make the lighting "boxy"
-"edgy" lighting instead of wide flat lighting

Film Pitch (Jackson)
- film close ups of objects
- maybe the hand
- doesn't want to distract audience from whats happening live

Sound Pitch (me)
- sound needs to create a sort of environment
- i want the music to not only explain the scenery but also to reflect the moods
- the music can also be the opposite to the mood happening on stage in order to emphasize the feel even more
- the music can create an environment, explain a situation, accompany an action, and more
- using mostly instrumental
- sound effects
- q lab
- fill out sound cue sheet ASAP

TYPED NOTES ON ASSIGNED PAGES AND GENERAL GROUP BRAIN STORMING

For the Father (credits to Sarah Hahm on Facebook page) 
- after coming into immigration
- juxtaposition (dove)
- eggs show hope within the city
- symbolic of fear and beauty
- night-time
- still life picture
- man arriving in balloon
- committing to being here
- "one way trip"
- creatures that are little swans
- shape of trees
- symbols that come out again throughout the book
- city life
- creatures within the scenes
- runs into lights and gets book from bag
- looking for directions
- where he can stay
- encountering creatures
- creatures kind of resemble owner
- going to an inn
- creature
- different room
- shower scene
- trying to figure out how all these things are working
- larger pot version of creature found
- finds friend/animal
- shadow scrim
- distance from light
- shadows of bodies and sets
- expressionistic
- angled buildings in set 
- hinges and wheels
- people on stage didnt actually equal people
- more physical friendly costumes
- sound has to be environment within itself
- surround sound
- all instrumental
- peculiar rhythm
- depth of theatre

BRAIN STORMING GROUP NOTES CONTINUED
Nostalgia 11
preparation for separation 1
adjustment
intense fear
power of war
flashbacks/memories, perspective, connections
hope for the future11
dehumanization
lack of communication111
power of silence
shadow
flashbacks1
hands
exploration
sharing
making connections
PERSONAL NOTES TAKEN FROM MY ASSIGNED PAGES(PAGES 42-47) 
Brief summary: Father struggles looking for work with pet and also runs into a monster. After finding work father starts talking to war veteran at the factory and a flashback takes place into our "Butoh" scene.
Pg 42: Father is tired and pet is sitting next to him
- moving around together being rejected until he finds a job for putting up posters
43: Preserve symbols 
- basket
- runs into monster 
- follow the weird signs 
44: At the factory
- making small white figurines
- repetition
- conformity
- clockwork and clanking noises
45: Sharing a drink with the veteran
- cone hat
-talking
- Flash back begins
- flowers
- people marching to war 
46: slowly moving into darkness
- go from happiness and celebration into darkness 
47: Shadows and silence
- bones
- death
- war

SOUND DESIGN
(pending draft of sound cue list)

Soundtrack is supposed to create an environment, provide an mood, support a theme, or even contrast a theme in order to emphasize the disparity and thus deliver a more powerful message.

Things left to do
- FINALIZE CUE LIST BY CONFIRMING THE TIME CUT OFFS




This is a screenshot of my sound cue list on Q lab

Thursday, January 15, 2015

PREZI OF SOUND PITCH

https://prezi.com/hte7u9iavonr/sound-design/

Chapter 21 (textbook notes from the textbook) SOUND DESIGN

- Sound designer:
- responsible for everything related to the sound for a given production
- renting for sound equipment
- setting of all sound cues
- production sound engineer: runs the sound mixer during the production. He/she responsible for mixing all of the sound
- Head sound engineer: supervises the crews who install the sound system an ensures that the systems function properly and as designed by the designer
- Sound crew does the actual recording and editing.

- The size of the sound team depends greatly on the show's budget and producing organization
- Team can range from an individual to a whole crew
- A sound design is composed of a sound score and/or sound reinforcement
- The sound score is the music and sounds used throughout the entire production
- Sound score can be pre-recorded or written specifically for the production.
- Sounds in a sound design include not only conventional sounds like "door bell" but "crashes," and "bangs."
- Some sound score designers blend aural images together and compose music creating a soundscape for the play
- Music is used to elaborate on the emotional intensity of moments in a play
- The sound/music does not always have to be in obvious parallel with the emotional content of the scene. Contrasting feelings can be a powerful tool to reveal hidden conflict.
- Very subtle things can make a huge difference
- for example...A simple ringing of the telephone can be completely specified by changing the rhythm in which it rings or the pitch/
- Certain features of an object's sound can reveal information like the geographical location and time period of that object.
- Sound reinforcement is the use of sound systems to amplify and process the voices of actors, singers, the orchestra, and sound effects.
- Good sound system will do this transparently
- Audience should forget that the sound is being projected from a system after a few minutes into the play
- The sound should be so natural and "right" so that it absorbs the audience into the world of the play

The Nature of Sound
- Frequency is the rate measured in cycles per second at which an object vibrates
- Higher the frequency equals higher the pitch
- Direct relationship that exists between frequency and pitch
- Loudness and Intensity are not synonymous
- Intensity is the measureable quantity of the power of the sound typically given in decibels where as loudness is a subjective term that describes a person's perception of sound intensity

Acoustics
-the study of the generation, transmission, and reception of sound
- a theatre with good acoustics will effectively project sound to the audience
- The material used in the creation of the walls, ceiling, and floor of the auditorium have a great impact on the reflection of the sound
- The harder the material is the better it reflects sound
- Timbre is the distinctive quality of a sound

Sound Production
- Music sounds better in the auditorium with a decay time of 1-2 seconds
- It isn't possible to create a theatre equally well balanced for speech and music

Sound System Configuration
- Three basic types of sound systems used in theatre
- Sound reinforcement, sound recording, and sound playback
- Powered loudspeakers have built in power amplifiers and signal processing capabilities
- Low frequency needs more power to produce than mid or high frequency sounds

Prerecorded Sources
- Prerecorded sounds are rarely ever played directly from their original sources during the production
- They are usually copied into the show sequencer's sound file and manipulated as necessary

Mixdown
- used to construct the sound cues for the production
- after all show cues are constructed, a copy of the sound cue file is stored onto a hard drive




Wednesday, January 14, 2015

"The Arrival" Sound design progress update!

So far I've collected the main soundtrack for our play. The soundtrack will be from Wes Anderson's film, "The Grand Budapest Hotel." However, only two songs from the whole track have been officially confirmed."The Night Train to Nebelsbad" and "A Prayer for Madame D." "Night Train to Nebelsbad," will be used for the Arrival of the father into the new world. "A prayer for Madame D," will be used for the end of Sarah's chase scene and also for when the father leaves his family. The actual chase scene will be accompanied by soundtrack from COD. I've cut the necessary bits and adjusted timing for the scenes done so far. 

In terms of sound effects I've finished the dragon and the fog horn. I believe I need to create a sound for the creature too which I will do once the characterization is more developed. 

The programs Audacity and Qlab are crucial to my design process. I've been using audacity to adjust the timing and mixes for the songs so far. Qlab is my sound cue system organizer. I've created a temporary cue project for our current process. 

I need to talk to Mr.Black to gain expert knowledge on all the functions of Qlab. I will also continue to explore the soundtracks for the upcoming scenes and create a sound effect for the creature. 

Finally, I hope to complete the sound cue board and then have a smooth run through with the ensemble before the real performance.