| Summary: | As modern technologies increase the capabilities of today’s stage, performances have grown to incorporate the use of video as a means to transform the stage in a way never seen before. Digital tools have unlocked designer’s ability to modify space and time in at the actual speed of light. While analogue film projections have been used on the stage for a number of years, it is the advent of digital video that has allowed performance art to develop a new interaction with a virtual world.
I intend to explore and document the process behind a video centric performance. In this instance, I define video centric performance as an event in which the action on stage relies on the video content in some way to create a complete performance. Through this thesis I will focus on how the evolving definition of video has created particular workflows and methodologies to help adapt digital video techniques for the stage. Using several case studies, my workflows and methodologies will be developed and formed into a single written document.
My written document is meant to be an all-encompassing guide. The goal in writing such a text is to provide single source education for artists looking to grow their understanding of video centric performances. Video production as well as stage production is a nuanced art, which can require years of practice to fully understand. Young artist may use higher education to grow their skills, or experienced professionals may use reading as a means of professional development. In both of these instances, members of the entertainment community are limited by the availability of a single source to bridge the gap between existing educational resources. Throughout the document, I avoid expanding on detailed topics that are covered by other professions, instead opting for an approach that weaves together the skills of performance artists, designers, technicians, cinematographers and animators in a way that focuses these talents towards the stage. === text
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