Notes from Rick Fisher’s presentation at Showlight 2006; Prinzregententheatre, Munich; 22nd May, 2005.
Panni projectors controlled via pulses from lighting consoles.
Acceptable fate of convergence of LX/projection control.
Who controls the projection? Scenography? Projection designer?
Collaboration or dictatorial?
Teamworking has not expanded to properly include projection.
The LD is caught between the Scenographer and Projection Designer – to improve communication become a diplomat more than LX.
Good news: projection design/er is being taken more seriously, is involved earlier in the creative process.
Equipment is becoming cheaper, quieter, more flexible.
With more dexterity of projection, PD and LD have greater respect for each other.
Projection is an all-too-easy solution to too many locations. Shouldn’t really replace set.
Stein’s Seagull: too invasive, rejects the power of the writing to coney information theatrically.
Woman in White: actors standing in front of a video screen, on a black floor. Not the future of theatre as he sees it.
Frustration of LX design with unfinished projections.
Lighting becomes /reactive/ to projection – has to respect the projection and stay away from the screen, but projection doesn’t have the same respect of LX.
Gives LD a dilemma.
Billy Elliot: “theatrically right”, looking like the 80′s but with modern equipment.
Added projection: previewed for six weeks, projection added two nights before press night. Added a historical perspective that couldn’t be added theatrically.
Producers and directors want to use projection as backcloths.
Projected light seems flat and dead, compared to stage light. Needs to be better and brighter.
What is ‘wrong’ with LEDs? The unquantifyable attributes – measure its /smell/.
Needs more discussion to establish communication. Collaberation = good. Doesn’t want to grab more of the responsibility in the creative process.
People need to talk about opinions.