Light and Information
“The introduction of lighting design into scenographic practice in the 1920s, most prominently by Adolphe Appia, had a profound impact in the way that plays were staged. Appia categorized light as diffused and formative or active, which was the tool to be used to make objects appear and disappear, and to generally create the scenography through subtle hints. The use of pure light was in line with Appia’s minimalist approach, and he called in particular for the abolition of painted scenery and “… the ridiculous incongruity between the moving, three-dimensioinal actor and the static two-dimensional trompe-l’oeil flats. …The scenic illusion [is] shattered the moment the actual performer intruded on to the stage.” It is difficult to overstate the impact of this, but what high definition video adds to the mix is not merely a new kind of light, but a level of information richness.” – Sempere Shifting Contexts in Theatrical Space (forthcoming text)
During the first planning week with MOTUS in residence, we spent a fair amount of time exploring the aesthetic qualities of light, projection and the interaction between them. What we are looking for is a particular visual language that will convey a sense of memory and perhaps reference a post-apocalyptic future. We are looking at infra-red camera, acid colors, spectral shifts and the idea of synesthesia: light controlled by voice and text which can destroy an image.