Archive for February, 2009

Like Nothing Else

Saturday, February 28th, 2009

I have been reading far too much Post-Apocalyptic literature recently. Coupling that with a book about the life of a Samurai and it really gets one thinking about death. In the midst of tech for Of Mice and Men I had the thought “if I died tomorrow, would I be pleased with my life?” And suddenly my focus on the play shifted. I began thinking if this was the last show I ever lit, what would I think of it as my final creation.

Yes, rather morbid indeed.

The interesting thing about all that was my focus became so clear on the work before me it was amazing. It was a wholly unique experience. The finesse and craft and care that went into polishing those light cues surpassed anything I have done to date. I have no idea if, objectively, it is my best work. But from a subjective place it certainly is.

Would I be happy with this play if it were my last? Yes. Yes I would.

Watching my last preview here before I leave town, I was struck with something amazing. Here I am looking at what I consider some of my best work to date and suddenly I realize the work is not mine. Not mine in a teleological way. It is not for me. It is for the audience. I have created something for people who I most likely will never meet. Yes, this is obvious, and a regular part of my job. But what struck me was the profundity of that thought while watching the audience watch the play.

I was hit with what a gift this work is. Here we are making these little pieces of temporal art and we ask hardworking people to spend a not insignificant amount of their money to watch them. A captive audience to our little whims. But the work is not about us. The work is about giving a gift to these people, total strangers. The work is about creating a space wherein people can leave the daily struggle of their lives and get back in touch with their core humanity.

And unlike all other art, save music, the relationship between the work and the viewer is a communal one. There is talk of a “theatre community” but the real community is the temporary one created and uncreated every night between the time when the houselights dim and the final bow. This community shares a world of joy and sorrow and laughter. It is transported far away and returns. The same, yet changed.

Watching the audience laugh at Lenny’s antics was amazing. Watching that laughter grow increasingly uncomfortable as the end became more and more inevitable. Watching, as they filed out of the house in stunned silence, like mourners leaving a wake.

All I could think was, “What a gift!” What a wonderful gift we had given these people. A temporary moment of truly and deeply connecting with their humanity. Putting, if even for a moment, all their petty annoyances into a larger perspective. Bringing them face to face with their own mortality.

Perhaps tonight was an anomaly. Perhaps that intensity will never be recreated. But that is the true magic of the theatre. Those moments of intense human connection that by their very nature can not be recreated because they are a pact between the show and the audience. They are a pact of honesty. One party says, “I will be honest with you if you can honestly and openly receive what I have here to give.” The other party agrees.

That is the true magic of the theater. That is what makes it like no other experience. Because it is not about the ego of the performer or the literacy of the audience. It is about the willingness to suspend all those trappings of the ego and have a truly human experience. It is a reminder that we are spiritual beings having a human experience.

It is a reminder of what a truly wonderful gift that is.

Of Mice and Men

Thursday, February 26th, 2009

Of Mice and Men begins previews tomorrow.

If you find yourself in Southwestern Virginia come check it out.

Solar Sunday

Sunday, February 22nd, 2009

Solar Sunday is my weekly roundup of renewable energy and energy efficiency news from around the web.

ETC goes LED

After long speculation about whether entertainment-lighting leader ETC would enter the LED market, the company has announced their acquisition of the Selador™ product line from Selador co-founders Rob Gerlach and Novella Smith.

“We didn’t want to make a ‘me too’ RGB or RGBA product that didn’t provide the kind of significant innovation in lighting we strive for,” says ETC CEO Fred Foster. “With its exclusive x7 Color System™, the Selador product line produces a far superior quality of color and light to anything that we had seen before in LEDs. We also benefit from the brainpower of Selador LED experts Novella and Rob – great people who will join our ETC team.”

The Sun turns CO2 into Fuel

Powered only by natural sunlight, an array of nanotubes is able to convert a mixture of carbon dioxide and water vapour into natural gas at unprecedented rates.

Such devices offer a new way to take carbon dioxide from the atmosphere and convert it into fuel or other chemicals to cut the effect of fossil fuel emissions on global climate, says Craig Grimes, from Pennsylvania State University, whose team came up with the device.

Although other research groups have developed methods for converting carbon dioxide into organic compounds like methane, often using titanium-dioxide nanoparticles as catalysts, they have needed ultraviolet light to power the reactions.

The researchers’ breakthrough has been to develop a method that works with the wider range of visible frequencies within sunlight.

Cell Phones Go Solar

Samsung Electronics Co. Ltd. recently unveiled its new, innovative solar powered full-touch screen phone, the “Blue Earth.” The Blue Earth phone is also part of “The Blue Earth Dream: Eco-living with SAMSUNG mobile,” an environmental initiative by the company to reduce its CO2 emissions, eliminate its use of hazardous substances and encourage cell phone recycling.

The phone is made from a recycled plastic prodct called PCM, which is made from water bottles. The packaging for Blue Earth is designed to be small and light, is made from recycled paper and comes with a 5-star energy efficient charger that uses standby power lower than 0.03W. The phone and charger are also free from harmful substances such as brominated flame retardants, beryllium and phthalates.

No Heating Required

Judd Blunk’s house is like a womb. Although the temperature outside is in the 20s, his triple-pane windows overlooking the Fox River feel warm from inside.

Because there is no furnace, the rooms are quiet. The only sound in the kitchen is the hum of a refrigerator, which along with other appliances, helps supply heat to the airtight 2,300-square-foot Batavia, Ill., home.

Blunk is part of a small movement of engineers and homeowners who are taking President Barack Obama’s vision of building energy-efficient homes to another level. They are inspired by “passive houses” in Germany that are so well-insulated and energy-efficient they eliminate the need for a conventional heating system.

Such design could be the future as Americans become more concerned with shrinking their carbon footprints and look at ways to avoid volatile energy prices.

Butterfly Effect

THE light-scattering structures that make butterfly wings so striking could be used to make cheaper, more efficient solar cells.

In dye-sensitised solar cells a dye coating on a titanium dioxide surface forms a “photoanode” that absorbs photons and pumps out electrons. To improve their efficiency, Di Zhang of Shanghai Jiao Tong University in China and colleagues borrowed the light-absorbing properties of the wings of the Paris peacock butterfly.

After soaking samples of the wing in a titanium-containing solution, they processed it to produce a titanium dioxide deposit that reproduced the wing’s honeycomb structure (Chemistry of Materials, DOI: 10.1021/cm702458p). When this was used to make a photoanode, the resulting cell’s efficiency was 10 per cent higher than normal.

Portfolio Update

Thursday, February 19th, 2009

I have updated my portfolio with a new page for Dracul as well as a few minor tweaks here and there. Go take a look!

Dracul Preview

Thursday, February 19th, 2009

Designed and Directed by: Michael Sturtz
Choreography by: Viktor Kabaniaev
Stage Direction by: Mark Streshinsky
Scenery by: Benjamin Carpenter
Costumes by: Anna Prisekin

Dracul_04

Dracul_08

Photography by Stephen Loewinsohn

Quote for Today

Sunday, February 15th, 2009

“I have come to believe that if history were recorded by the vanquished rather than the victors, it would illuminate the real, rather than the theoretical, means to power; for it is the defeated who know best which of the opposing tactics were irresistible.”

~~Maya Deren, Divine Horsemen: The Living Gods of Haiti

Offset Your Travel

Wednesday, February 11th, 2009

Do you travel a lot for work? I do. Four cross country flights in about a month seems like a fair bit of travel to me. I have often had an issue with the volume of travel and its impact on the environment. While this does not eliminate the carbon released into the atmosphere, it does help to reduce the impact of that carbon.

I would like to encourage any of you who travel a lot for work or fun to consider this or a similar program.

Type Casting

Friday, February 6th, 2009

I had dinner last night with Rick Rose the Artistic Director of Barter Theatre. We talked about a range of things but early on our conversation was about actors and type casting. The discussion started around the idea that at a place like the Barter, being able to work in a variety of styles was necessary for being an actor there. We then went on to discuss how many actors who “make it” get type cast and only hired to do a small range of roles. They do them well and as time goes on they eventually are not acting per se, but rather playing themselves as whatever character their current role is. In short, the celebrity persona takes over the actor and over time the basic acting skills of inhabiting another persona atrophy.

Our discussion of celebrity actors led into a discussion of celebrity designers. I was saying how one of the things I take great pride in with my work is the ability to design in a variety of styles. I am not tied to a specific look and truly enjoy the freedom and play it allows. Rick made the point that many of the old guard designers working on Broadway have a very distinctive style and that they are hired to light the play in their style. That they are limited to that style and should they venture too far from it, run the risk of producers telling them something to the effect of “I did not hire to light it THAT way. I hired you for your style.”

I noted that my Lighting Design portfolio originally had a sampling of the range that I could do, but that recently I had narrowed the focus to show a singular aesthetic point of view with a few pieces here and there to give a feeling of range. After explaining this I said how I was getting a much more favorable response to my portfolio since doing that. Rick replied that when hiring designers, or actors for that matter, it was necessary to place them in a type in order to understand their work. In short, one needs to be cast in a type in order to get hired. Once done, one runs the risk of getting hired for that type and that type alone.

The balance is a difficult one when marketing one’s artistic work, particularly as an actor or designer. As a designer, you want to be able to work in a range of projects, but that very range as represented in a portfolio, can often be a detriment to your ability to get hired for anything. So by necessity you must cast your type and present that to potential clients; theaters, directors, producers, etc.

This is the paradox of working as a designer(or director or actor) You must artificially limit your range in order to get hired on enough projects to express that range you are capable of. It is a bit of a Catch-22.

This is one of the things I love about the Barter. Each of the actors there, while certainly having strengths in terms of types of roles or dramatic styles, can jump into any role or style at the drop of a hat. And do so willingly. As a designer it is a wonderful place to be. The range of shows they produce allow me to flex a wide range of dramatic muscles. Sometimes I am designing monochromatic shadowy plays and other times bright colorful pieces. But no two shows call for the same style or approach.

I find myself fortunate to work in a range of styles. At the same time, a glance through my portfolio might give the impression that my range is quite limited. It is true that there are certain styles I prefer over others. Yet I do not enjoy these styles to the exclusion of others. Far from it. And that is a very important distinction.

Having an aesthetic point of view is important and necessary in creating any work of art. Equally important is testing that aesthetic to ensure that it is always up to date and true to ones inner vision.

We are not in a Recession

Friday, February 6th, 2009

I have been thinking a lot recently about the economy. Who hasn’t? But one thing that really caught my eye was when I took a look at the last 50 years of market fluctuations in terms of the Dow and S&P 500. What became clear is that the market had a fairly continuous upward trend through the mid-90′s. At that point the curve got a lot steeper. Now, it has been a long time since the mid-90′s but so far as I can tell that is about where the market has leveled off to. In other words, the bubble burst and has not sent us lunging backwards but rather has reset the over-inflated economy back to its rightful place.

Now just because we are not in a proper recession does not mean things look bright and cheery. Rather, this means the news is a lot worse than is often presented because there is nowhere to “bounce back” to. And even if there was, would we want to return to the profligate ways of an economy propped up by consumer debt and fictional money?

Talking with people in the theatre, there is a lot of fear about what is going to happen. The Magic recently came within a baby’s breath of going under due to its credit obligations tightening in the current economy. Friends around the country have been talking about independent companies, primarily dance, reducing their budgets and fees. Only now does this appear to be spreading to the larger companies as they begin cutting travel budgets for artists and shift to a more locally based talent pool.

In other words, the business model that regional theatre has been operating under for the last 20 or so years is resetting along with the rest of the economy to a pre-bubble level. Because the bubble was so long and drawn out with micro bubbles built in to it, seeing the thing as a simple reset of the system is very difficult. How many can really remember pre-1990′s America? It was a very different place economically, but like it or not, we are there again, or close to it.

I was musing on this last night when I stumbled across this site whose most recent post is titled nothing other than The Great Reset. Their graphic below presents this idea in a rather clear manner.

Because of the growth mindset people keep talking about a recession and that what “needs to be done” is to get consumer spending back up. Rather than looking closely at the data and seeing that it was in fact this very spendthrift mentality that got us into this trouble in the first place, everyone keeps talking about how we need to go back. Saving, once a bedrock of American culture is being derided because of its negative impact on GDP.

Link

But the same group also criticized it because it would help families earning as much as $150,000 a year, who are more likely to save than spend. (Saving, or paying off debt, might make sense for individual households, but what the economy needs most is for people to spend money, helping stores to sell more, factories to produce more and employers to avoid cutting additional jobs.)

But perhaps this is exactly what we need. Perhaps this “great reset” will in fact return American culture to the economically prudent ways that allowed it to become a superpower in the first place. Western expansion and the growth of the American Empire were borne of thrift and enterprise. A return to the false economy of debt and fake money will only ensure the decline of Western civilization.

What would an economy of savers look like? This scenario is outlined in some detail near the end of Your Money or Your Life. Basically, a lot of the flashy conspicuous consumption we indulge in would go away. There would probably be a reduction of the “service economy” in America. At the same time, most people would not worry about where their next meal was coming from or how they would pay rent. A nation of financially literate, financially independent people would give back to society a solid foundation where in only the most extreme and devastating cases would need government assistance.

An economy based on saving would not be concerned with matters like “full employment” or “GDP” because our focus could be on the enjoyment of life as opposed to an escape from the need to work full tilt in order to consume that furthers the need to escape(spend) that brings us back to the need to work harder.

What this would mean to the theatre world is a return to its local roots. The importation of actors, designers, directors and so forth would be radically reduced. Salaries for the top management would come more inline with that of the artists whose work actually appears on stage. In other words, there would be a great reset back to its traditional roots.

Is this an entirely good thing? I don’t know. There are very strong benefits to the current system that allows for a national artistic dialogue to occur on our nation’s stages when we bring these disparate groups of artists together. On the other hand, if the system is based on an unsupportable foundation of deficit spending, it can only be sustained for so long before the market brings it all back in line.

As above, so below. These huge market forces, bigger than any individual, institution or country effect us down to the minutia of individual fiscal planning. We would be wise to step back from even the scale of monthly layoffs and look at the global picture over time to even begin to grasp what is happening in our interdependent economy right now.

I for one am doing my best to thwart the “bounce back” of the economy. Saving as much as I can, and preparing for the long haul of slow and steady economic growth.

Joseph Opens

Friday, February 6th, 2009

If you are in or around Southwestern Virginia come by and see Joeseph. It opens tomorrow night.


Creative Commons License

All text on this site, unless otherwise noted, is licensed under a Creative Commons License. All other rights reserved.