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Electrical cables Black electrical cables on a grey floor and opaque plastic box
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Money UK bank notes and coins, just over £125, not loads of Cash but a significant amount, on a grey floor.
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“Would cows, if kāpt in the capital, love jazz” Tale about Ernests journey with cows in the city.
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Cages closer Cages closer
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Cages Steel cages
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The box The box as a costume, prop and set. An object often used in theatre because it's practicalities : light, cheap, easy to manage, easy to transport...I kept researching it inside the frame of my clown performance The Lesson. I work with his 3D dimensions and its relation to light design and body. Many meanings came through. The difficulty was the fragility of the object when creating choreography. Some movements will break the box pretty easily so, I wondered, Which other materials could be used to create a box? How could we still keep its light quality and make it more resistant?...
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Tier9_Hungary_collectivecontribution The plate is from Zsófis work Softloneliness, the plate was used as an object to highlight the topic of eating alone, that is connected to the piece but not its main topic. It was just a symbol explained but not used to its full potential.
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Research of set ideas This video documents an ongoing research into collage as a live, temporal structure on stage. On a 3x3 meter surface, layered materials and images are placed, built up, and then collapsing through water. Falls reveals another image, shifting the composition and recalling what has already disappeared. The process is less about permanence than about transformation: the stage becomes a site where time performs through the gradual disintegration of layers. In the end, the collage empties itself, leaving only a blank surface.
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interaction between people, art, environment The momentum when the art World collides together with daily life miraculous momentum’s . Place where unexpected is born. Place were we all ar one, but with different sense of time, thoughts and ideas.
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Web prop/set/costume An exploration of how sting material from an old scenography can be repurposed in a new way. The elastic bands were weaved around the circle to create a both malleable and firm structure.
We tried it both hanging, swinging, laying down, as a dress, bouncing, as a sling shot and many more.
We tested multiple lighting options - hand-held moving around the object with a performer underneath, from inside the object and with different types of stage light installations.
From witchy dreamcatcher to uncomfortable trap, this object provides many stories and endless uses in performance.
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Depth of a spatial plane A fragment of a painting by A. Bankava, where the placement of colors creates a visual effect, making the artwork appear as if it is alive and in motion.
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Tier 9 - Nacho Cárcaba - Spain Collective Description of the selected object to share with my team and find new ways in every body. A textile that can be anything that we want. How can we break our learning estructures to create new creative worlds.
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Costume/Prop/Set - Czech Collective Photo of a set of objects the Czech collective was working with during Tier 9 - coal hanged from the ceiling, rope, styrofoam, tape.
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Maka five-floor house
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Tier 9 - Georgian Collective Costume / props / set - Georgian collective
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Cage Tier 9
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triangle For me its not about creating a fixed setting but about opening a space that can shift and transform. I use props and materials as partners that can change meaning in the moment—sometimes they support, sometimes they resist, sometimes they completely turn the direction of the piece. I am interested in this paradox, because it shows how fragile and unstable our ideas of objects and spaces really are. In this sense, is not decoration or background, but an active presence in the work. It shapes how the body moves, how emotions are felt, and how stories are sensed. Through this, I search for ways to make visible what normally stays hidden in the everyday life of things.
In one of my creations i worked with a small (light) pyramid, and I have always been intigued by the triangle form itself. It is simple, yet deeply symbolic—stable yet dynamic, pointing upward as if toward something beyond, something unseen. The triangle embodies the tension I often explore: making the invisible visible. It carries a subtle, almost subliminal message—a metaphor for symbols we encounter daily but have largely lost touch with. it suggests that even the simplest form can hold layers of meaning, …I became more aware of how geometry is sublimed within my practice—how forms, angles, and lines quietly choreograph perception. This realization, coming from the way I engage with my props, has opened a new way of seeing my work, revealing patterns and structures. Moving forward, I would want to use this awareness with more intention
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Mask To answer about the tier for this week: I actually never really worked
with objects. For my piece Khôra I worked with a set of foam, but it served more as a landscape than an object.
However, I started working with masks in Khôra and have been working with them since. I feel that this is sometimes perceived as controversial or agressive because I consciously take away the face, which can be perceived as dehumanizing, at the same time it heightens our awareness of other body parts, making them overly human.
In my current production I am again working with masks so I feel I am not at the end of that journey yet.
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Set/ prop I noticed that if i Use scenography/ objects: it is mostly blocks. In the piece where I have used blocks, they are used with a different meaning to the world we are creating. But it is a recurring theme, which I just realized now with this assignment.
They way I am using it in the last creation is more realistic then in the other creations, now it really serves as a bench to sit/stand/move on. Where as in the other works it was more abstract and used more dynamically.
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Decor/ set/ object I noticed that if i Use scenography/ objects: it is mostly blocks. In the piece where I have used blocks, they are used with a different meaning to the world we are creating. But it is a recurring theme, which I just realized now with this assignment.
They way I am using it in the last creation is more realistic then in the other creations, now it really serves as a bench to sit/stand/move on. Where as in the other works it was more abstract and used more dynamically.
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puppet_play Virtual head created with image-to-3Dportrait-software. Puppeted in real time via (face) motion capture data, streamed from my smartphone camera into Blender over the local network.
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‘I really want to stay here now’ The car in the photo is part of the piece ‘I really want to stay here now’.The idea was to dismantle it live at one point in the piece, an action that served as a metaphor for transcending and dismantling Fordism.
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Scenography object by object Improvisation where we add objects one by one to create scenography.
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Choreographic Lines #9 Mercedes improvising with Choreographic Lines of tape on the floor.
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Choreographic Lines #8 Lines of choreographic and scenographic tape.