Monday, 30 November 2009
Talking about tableaux vivants, today, reminded me of a short sequence i had seen in a 50 Cent video. i remember reading that it was part of a Phillips commercial, but i've never got round to watching the whole thing. Today i decided to have a look and relised that it's very much like one big tableau vivant style setup. As we see the camera pan around the surrounding environment, we see everything moving slightly, either that or our eyes deceive us, and it seems like film's response to a tableau vivant style. I absolutely love it, it's like one big theatrical stage, all shot at once. It was directed by Adam Berg and was awarded the Cannes - Lion 2009 GRAND PRIX.
So check it out, it's well worth watching... http://www.youtube.com/watch?v=1m-uD0u7QD0
And if you were wondering how they made it, here's the scene again with some short intervening commentay... http://www.youtube.com/watch?v=r0MjC4mh0aw
So we had our first lecture for unit 3 today and Phil explained the brief. I was glad i did my research before this brief because it helped me to understand everything he was talking about. It was a good insight into the different artists we could research into and i felt there was a lot of diferent varities of work to look at. Phil wants us to focus on ambiguity for this unit to get the best out of our work. He also suggested using Gregory Crewdson's work as a big influence as he is one of modern tableau vivant's major successes. I particularly like his work in Twilight and Beneath the Roses as i feel this is his more eerie peices, but i love the way his characters seem to be in a trance. But, i'll write more about Crewdson when i look into more of his work. Phil also told us that the contradiction in this unit would be that we wouldn't be able to create humans, therefore we would need to focus our attention on a piece of work like Jeff Wall's, Destroyed Room. I'm hoping to look into as many of these artists as possible before wednesday, so expect a fair few posts between now and then. But a very insightive lecture today, and something i've never heard much about before, so everything was new to me.
Gregory Crewdson was born on the 26th September, 1962 in Brooklyn, New York. In 1985 he received a BA in State University of New York. 3 Years later he received an MFA from Yale School of Art, Yale University. He has since taught at the State University of New York, Sarah Lawrence College, Cooper Union, Vassar College and is now a professor at Yale University. He's been teaching since 1988 right up to the present day. Crewdson is represented in New York at the Luhring Augustine Gallery and in London at White Cube. His books include Hover, Twilight, Gregory Crewdson 1985-2005, Fireflies, and Beneath the Roses. He has also won awards like The Aaron Siskind Fellowship Award, Visual Artists Fellowship Award, and Skowhegan Medal for Photography.
Sunday, 29 November 2009
Liturgical drama is also known as religious drama. In its Christian contexts, it originates from the mass itself, and usually presents a fairly complex ritual that includes theatrical elements. Christian tradition saw religious drama stem out of liturgy at the end of the Middle Ages (mostly the 15th century) in the form of mystery plays.
Mystery plays are among the earliest formally developed plays in medieval Europe. Medieval mystery plays focused on the representation of bible stories in churches as tableaux with accompanying antiphonal song. They developed from the 10th to the 16th century, reaching the height of their popularity in the 15th century, before being rendered absolute by the rise of professional theatre.
Tableaux has also been used as part of passion plays, in religion, to depict the passion of christ: the trial, suffering and death of Jesus Christ. Participants play the roles of the characters within this story to represent the events.
Tableaux was also a major feature of festivities for royal weddings, coronations and royal entries into cities. Often the actors imitated statues, much in the way of modern street entertainers, but inlarger groups, and mounted on stands along the main procession.
Before film, radio and television, tableaux vivants were popular forms of entertainment. It was sometimes used to recreate paintings "on stage", based on an etching or sketch of a painting. This was before the age of colour reproduction of images.
English censorship often forbade actresses to move when nude or semi-nude on stage, so tableaux vivants also had a place in presenting risque entertainment at special shows. In the nineteenth century they took such titles as "Nymths Bathing" and "Dana the Huntress." Such entertainment was also seen at fairground shows. But the shows largely died out by the 1970's.
Tableaux vivants were also performed as the basis for school nativity plays in England during the Victorian period. Now the custom is only practiced in a single English school, Loughborough High School (the oldest all girl school in England, founded in 1850.)
In the early years f the 20th century the German dancer Olga Desmond caused scandals with her "Evenings of Beauty" in which she posed nude in "living pictures," imitating classical works of art.
A tableux vivant-style production called the Pageant of the Masters has been held in Laguna Beach, California every summer since 1933 (except four years during world war 2). It involves hundreds of volunteers from the surrounding area and attracts over a hundred thousand visitors anually. The festival recreates famous works of art on stage. nother tableaux vivant-style production called Pageant of our Lord has been held in Rolling Hills Estates, California every spring since 1985. This production differs only in that its focus is exclusively on the life of Jesus Christ as told through religious arts of work.
In photography tableau vivant was an approach to picture-makig taken up by pioneers of fine art photography in the 1840's. It has also influenced current trends in photocompositing. It has also been used in art films, as a more expressionistic and experimental art form.
The first word i looked into the meaning of was tableaux vivants or tableau vivant for non-plural. Most people would guess that it's a French word and it actually means "living picture." it describe's a group of suitably costumed 'actors,' carefully positioned and often theatrically lit. The people do not move or speak, marrying the art forms of stage with those of painting/photography.
After that i looked into what 'The Uncanny' was. I established that it was a Freudian concept used to identify an instance where something can be familiar, yet foreign at the same time, resulting in an uncomfortably strange feeling. it often creates cognotive dissonance within a subject due to the nature of being attracted to, yet repulsed by an object at the same time. This often leads to a rejection of the object, as we would rather reject than rationalize.
As cognotive dissonance was brought into the last meaning, i needed to find out what it meant. I soon learned that it's a theory, used in social psychology, which gives an uncomfortable feeling when holding two contradictory ideas at the same time. It normally occurs when a person perceives a logical inconsistency among their cognitions. This happens when one idea implies the opposite of another. An example would be the belief of animal rights interpreted with eating meat or wearing fur. This contradiction could lead to experiencing negative emotional states, also known as dissonance.
I now feel i have a better understanding of the brief, although i have also looked into the history of tableaux vivants to make sure i have the best possible understanding before Phil's lecture on Tomorrow.
So i've finally finished the street and i must say it was well worth the time and effort that i put in. It was a big jump from the likes of a fan, magnifying glass and toaster. Although, i spent most of my time complaining about problems with extruding and the UV texture mapping, i actually enjoyed this tutorial because i feel i've learnt so much. Not only have i learned to correct some of my problems and mistakes, i have learned more tools which is helpg e get used to the softwae. I actually feel like i could start to model and create my own objects with the software now, using the basic tool s and techniques Alan has already taught us in the space of only 8 weeks. This was a tricky and time consuming tutorial, but well worth it. Keep 'em coming Alan...
Friday, 27 November 2009
I think there was a sigh of relief when we were told that we have a break from life drawing, particularly because it was starting to get on my nerves. It feels like i'm developing slowly, but it all seems quite a slow and definitely painful process. Standing up for so long is starting to kill my back and i have to keep taking breaks, but i'm definitely learning lots from the experience.
In one of the books i read, it talked about how much H.R. Giger influenced the film and that the script itself was based on a "Giger monster." I also read that the when they struggled to find a design for the Alien, until Dan O'bannon showed Ridley Scott some of Giger's work. Scott was stunned by Giger's remarable picture named Necronomicon, which was when Giger was brought onto the team. Necronomicon could best be described as the Alien's second cousin. I thought it would be useful to look at Giger's Necronomicon book so i could see relevant examples of his work that related to the design on the Alien and showed how the idea originated. I don't think this book is for the faint hearted, but it is definitely worth checking out. I find his images completely disturbing, but at the same time they never fail to amaze me. Although, i can't help but think that the man should get some help.
Thursday, 26 November 2009
Wednesday, 25 November 2009
I'm not too happy with this at the moment, so i may go back and make a few changes. But as it stands, this is the final piece. If i had the chance i'd go back and make the design more moon like, but as i read the text, i felt it described something that looked like mars more than the moon. i do like the vegetation, but i feel the rest of the image is looking a bit plain. Composotionally, it works, but not as well as the first concept design, that had a lot more depth to it. Overall, i'm fairly pleased, but again, many improvements could be made.
Tuesday, 24 November 2009
Friday, 20 November 2009
Monday, 16 November 2009
Just an update... I haven't been posting much on my blog recently, but it's not due to a lack of hard work. I've currently finished the second week of Maya tutorials and i'm about to start the third week tutorials during the week. I'm currently working on the both the perception and alien essays. I'm fairly happy with how the Alien essay is going, although i'm finding it hard to cut down what i'm writing and i keep going into irrelevant details and less analysis because of the in-depth research i got from the books i looked at. But as i read more into the making of Alien, im just completely amazed. As for my three concept designs, im continuing to develop them in the lessons on Friday and during next week i will look into the feedback Phil gave me to improve them. i particularly need to look into the narrative of the text more and do more general research into how certain elements of my designs should look based on cultural differences.