Tatebanko & Cut out Animation

Tatebanko is a forgotten Japanese art of creating amazing dioramas and scenic perspective from paper. Tatebanko was popular and widely admired from the Edo period ( 17th century ) to the early 20th century.

It is basically a technique of creating pictures and sceneries using layers of paper or similar material and adding depth to a 2 dimensional model.

For my model, I have employed the Tatebanko style to add depth to my model rather than making the traditional box model. These layers add to the sense of perspective, look lively and are a creative way of constructing a diorama.

Along with Kirigami, which I have mentioned in my previous posts, the idea is to create a unique style of model making and diorama construction, and create a demonstration of the same via a short motion animation trailer.

I would also be using cut out animation, invented and developed by Quirino Cristiani (July 2, 1896 – August 2, 1984) who was an Argentine animation director and cartoonist, responsible for the world's first two animated feature films as well as the first animated feature film with sound. He used cardboard cut outs to create animation and special effects for his film and my plan is to adapt that to the current trend of paper cut out a la Andersen Studio and film a short montage movie.

References:
http://www.tatebanko.com/about/index.html [Accessed 10th June 2011] [Online; Live]

http://wwww.quirinocristianimovie.com [Accessed 17th June 2011] [Online; Live]

Bendazzi, G., (Taraboletti-Segre, A., translator); Cartoons: One Hundred Years of Cinema Animation; Indiana University Press;(paperback reprint, 2001)

Quick cut out test

Cut out Stop Motion

Kirigami with wood

Kirigami - Building Designs

A kirigami model

Kirigami (japanese: kiru - to cut; gami - paper) is a variation of the Japanese art form Origami and involves cutting of folded paper to create different shapes. It is a good way to create free standing 3D models, frames, stencils and decorative items.

For my model, I am planning to use Kirigami models alongside the basic hard board layout to inculcate a more rough (intentional) and cut out kind of a feel. The kirigami models are easier to maneuver and bend as compared to a harder material model and thus will make filming much easier and give a more organic appeal to the model.

Current Practitioners - Steven Warne

Steven Warne is the animator for Wallace and Gromit and Tim Burton's Frankenweenie. Having been fascinated by inventing and controlling little worlds from the time he was a little child, he landed himself an internship with Aardman at the age of 15. When at Aardman, he learnt in depth, the scale and magnitude of animation production. Warne has a clear cut animation style and specialises in stop-motion. He believes that stop-motion has a bright future and thinks that it is a good way to show creativity. Following are his top films:

Street of Crocodiles (Brothers Quay)
Creature Comforts (Nick Park)
Stage Fright (Steve Box)
Hedgehog in the fog (Yuri Norstein)
Loves me…loves me not (Jeff Newitt)

Show Reel 2010

Stop-Motion Showreel // June 2010 from Steve Warne on Vimeo.

Additionally, his blog has other animation projects and the work he has been involved with can be viewed at http://tinylivingpeople.blogspot.com/

Treatment in Post Production

A SHORT LOVE STORY IN STOP MOTION from Carlos Lascano on Vimeo.

Reference: http://www.smashingmagazine.com/2008/12/31/50-incredible-stop-motion-videos/

Working Script

story:

in a white room, a piece of paper (probably newspaper cutout) folds itself into a paper plane. the paper plane then flies out of the window and lands into the model.
model 1 - straight lane with buildings, shops? , busy lane - the paper plane wades through it. sees a revolution banner (will make it) with the words revolution and definition appearing on the ground as the plane flies over it..
the plane's wings start drooping as if to show that it has been hit.

cut

the plane is then on another street..still drooping wings..it comes across a changing room like room by the side of a shop on the lane. once the curtains of the fitting room is drawn - u see the words Change (and definition on the wall. ) the plane changes colours and comes out. gets out of the shop

cut

it then gets back on the street and finds a poster declaring "become with definition" the plane does a look around..kind of confused and feeling a bit lost.but when it looks back at the poster..the words rearrange itself to BE with definition. the plane does a little hop and continues flying..now feeling its wings coming back up..

cut

next it comes across a doorway with the EXIT sign lit up..but in actuality it is EXIST with the S light off. as it tries to make it to the door, the s light comes on and on the door is a notice with the definition of exist.

cut

the door opens and the plane is flying over a strawberry field. as it goes higher…the strawberry makes a formation of the word SELF on the field….the plane lands on the field. and opens up. the plane is now a sheet of paper with the definition of SELF.

fade to black with the key words from all these scenes appearing on a black bg..forming the sentence "revolution is a change that occurs when someone ceases to become something they don't want to be and starts to exist as something they truly believe in - the self. This, dear everyone who cares, is what I'm talking about."

Model scale

Found the scale and style I'm going to be working with. Since I haven't made my model yet, I have a visual reference from the internet which would describe roughly what I'm working with!

Stop Motion styled Animation

Good use of objects and traditional stop motion effects.

Updated Learning Agreement

Name: Melissa Khan (N0348646)

Pathway: MA Design for Film, Television and Events

Title:

Aim: The aim of the project is to create a visual experience using tangible space and set design as the storyteller.

Objective: To employ critical research and analysis of the revolutionary scene to create a stop frame animation on the same, while using set design to carry the narrative forward.

Brief description of your project
My project would be a short film about the experiences and culture of a revolution. I will try and explore the journey of the subject/protagonist’s mind using a series of studies as research for my project and create a visual paradigm of the acquired results. The film will incorporate the cultural and social condition of revolutions and compare it to the present day scenario through a series of indirect/symbolic imagery. In a way, it would explore the possibility and result of an inner revolution


Rationale
Since I have a background in Visual Communications and am now pursuing my Masters degree in Film and Television Design, I am of the opinion that this exercise would be a good way of exceeding my own creative boundaries while producing something that may have not been fully and visually explored yet.

The questions my project will aim to answer are:
• Is it possible to create a film without the traditional narrative methods i.e, dialogue?
• Can the use of objects and props be sufficient in story-telling?
• Can I create my own style through this project and convey it successfully?
• Can physically created space be used to replace characters in motion?
• Can I evoke an emotion of sorts through a short film without dialogue?
• Can set design alone stand as narrative for film?


Content
Stop-motion: noun
Also called stop-action photography, stop motion cinematography is a special effect carried out while shooting, in which the performers stop their motion and the camera is stopped while an object or performer is added to or removed from the scene. The camera movement and action is then resumed for the remainder of the scene. It is used to create an illusion of sudden appearance or disappearance of persons or objects.

My project at completion will be a short film using Stop motion as its basic style incorporated with my personal style of filming and editing. It will be a combination of real life and still life photography with an element of surrealism involved.

Through a series of puppetry workshops, photography and lighting workshops, I aim to create a self directed film and thereby generating a niche production that is solely my style and the kind of films and spaces I would like to create in the future.

I am currently enrolled in sessions for Puppetry, Adobe Premiere etc and would like to be involved in theatre/set design and other AV modules like editing and post-production in general. Also, some workshops on lighting, filming styles and talk sessions with other students doing film practice/professional film makers would be helpful. I would also like a field visit to a production house nearby or Broadway in the future.



Submission
My final project would be a short film/a series of moving images which will explore the Revolutionary Culture. I am currently maintaining a reflective journal throughout my course to pen down my inspirations and progress. My audience will comprise of just anyone interested in the cultural and social state of the world today as it is relevant to almost anyone with a keen eye. Academically, I would like to bring up the topic of Set Design and its functions, and try to use it as a narrative that takes you through the film.
Areas like the Art, Music, Movement and Scientific and Economic progress of the contemporary are still of great value in today’s world and I would like to use these parameters to assess the current socio-cultural scenario.



Learning outcomes
o Learning Goal 1: To be able to create a stop motion short film independently.
Learning Objective: Work on developing a unique style and execute it independently

o Learning Goal 2: Learn to use props and lighting as the main elements of a project.
Learning Objective: Create a film that uses objects and lighting as one of the main vehicles of story-telling.

o Learning Goal 3: Learn various set design techniques and implement them.
Learning Objective: Study and research various set design and prop construction techniques and use them to build my project.

o Learning Goal 4: To understand the use of sets as narratives in a film
Learning Objective: Create a film without dialogue and let the set carry the story forward.


The methodological framework
Currently carrying out online research – websites, e-journals and essays on contemporary culture and art.
Movies and video clips –
• Across the Universe (Julie Taymor, 2007)
• 1969 (Ernest Thompson, 1988)
• Gonzo: The Life and Work of Dr. Hunter S. Thompson (Alex Gibney, 2008)
• Yellow Submarine (George Dunning, 1968)
• Easy Rider (Dennis Hopper, 1969)
• Terry Gilliam’s Monty Python
• Apocalypse Now (Francis Ford Coppola – 1979)

Research on specific areas such as the Beat Generation, Counter-Culture and Bohemian art.

Architectural research to support the development and realisation of set for the film. Looking into town squares and town planning of revolutionary eras (1910-1960).

Working on storyboarding the basic working script and developing visual styles to deliver through the film.

Methodology:

Quantitative: Experiments with set design, puppetry and Lighting. Model Making

Model Making is an integral part of my project. Since the film is going to be shot in an around this model, I am currently experimenting with different drafting styles and materials.

Puppetry and object theatre is a good way of working with props and expressing symbolism and objectivity. Through these experiments I aim to allow a variety of ideas to flow and hopefully create my own style of storytelling.


Qualitative: Research on stop motion. Books on revolutionary history of the world. Films, Field trips to production studios/sets

For the purpose of producing a critically and thoroughly analysed project, I carried out a basic internet search on Stop Motion animations made by students from different universities. The result was a look at the level of advancement and technology being employed by different students from across various educational backgrounds and how it affects the general trend of new media. I started by looking at a production from Nottingham Trent in 2009 called Bonington Drift – made by students studying Final year Motion Graphics. I also looked at student projects by students of University of Wisconsin-Milwaukee (USA) and a project by students of University of California, Los Angeles and the Savannah College of Art and Design.

Movies such as Across the Universe, Apocalypse Now and The Science of Sleep - The visual resource these films provide through its imagery will be clearly reflected in my project.
Terry Gilliam’s Monty Python has inspired me mainly in areas of it’s philosophy- of magic realism. Scenes from Brazil and The Time Bandits are great inspiration. I have also looked into his films such as 12 Monkeys, Brazil (the film) and The Imaginarium of Dr. Parnassus.

For the period of realisation of my project, I will work closely with the AV team and photography modules to develop my style of editing and post production to improve stop motion and attempt to create a new clique altogether. I hope to start sessions on After Effects and some editing software (either Adobe Premiere or Final Cut Pro) to further aid my project. Softwares like Photoshop and Illustrator are also beneficial but I have had sound practice with these softwares.


Resource implications
• Supervisors: David Allen & Jayne Harvey
• Programme Leader: Dr. David Downes
• Resources required: Editing studio, camera/camera person and technical support, studio space to build the environment, lights, cameras and workshop on editing. (I have basic knowledge with Adobe Premiere and Adobe After Effects).



Bibliography

Klanten, R. & Ehmann, S. (ed.), 2005. Hidden Track. Berlin: Die Gestalten Verlag

Greenberd, A. C., 1979. Artists and Revolution: Dada and the Bauhaus, 1917-1925. Michigan

Kuenzli, R., 2006. DADA. London: Phaidon Press Ltd.

Kopp, A., 1970. Town and Revolution. London: Thames and Hudson

Bachelard, G., 1994. The Poetics of Space. Boston: Beacon Press

Verkauf, W., 1961. Dada: Monograph of a Movement . Switzerland: Arthur Niggli Ltd.

Dachy, M., 1990. The Dada Movement: 1915-1923 . USA: Rizzolli International Publications Ltd.

Whybrow, N., 2005. Street Scenes: Brecht, Benjamin and Berlin. Bristol: Intellect Books Ltd.

Brecht, B., 1964. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. John Willett. British edition. London: Methuen

Oddey, A. & White, C., 2006. The Potentials of Spaces. Bristol: Intellect Books

Oddey, A., 1996. Devising Theatre. Great Britain: Biddles Ltd.

Simpson, J., 1990. Dispatches from the Barricades. London: Hutchinson/Random Century Ltd

Bizot, J., 1965 – 1975, “Free Press: Underground & Alternative Publications”, [Online]

Krugman, P., 2007. “The Conscience of a Liberal”, [Online]

Charters, 1992. “The Portable Beat Reader”, [Online]

Caen, H., 1997-02-06. "Pocketful of Notes”. San Francisco Chronicle, [Online]

Sinclair, A., 1995. “The Puppetry Handbook” [Book], Wikimedia Foundation

Currell, D., 1987. “The Complete Book of Puppet Theatre” [Book]. Barnes and Noble Books

Materio, 2006. “Material World 2” [Book]

Portchmouth, J., 1974. “Working in Collage” [Book]. Studio Book

Dixit, J., 2007. "The Dream Robbers", Psychology Today, [Online] Available:http://www.psychologytoday.com/articles/200710/dreams-night-school [Accessed 4th November, 2010]

Bulkeley, K. (1999). Visions of the night: Dreams, religion, and psychology. Albany, NY, US: State University of New York Press.

Busink, R., & Kuiken, D. (1996). Identifying types of impactful dreams: A replication. Dreaming, 6, 97-119.

Knudson, R. (2001). Significant dreams: Bizarre or beautiful. Dreaming, 11, 167-177.

Knudson, R. (2003). The significant dream as emblem of uniqueness: The fertilizer does not explain the flower. Dreaming, 13, 121-134.

Knudson, R. M., & Minier, S. (1999). The on-going significance of significant dreams: The case of the bodiless head. Dreaming, 9, 235-245.

Kuiken, D., & Sikora, S. (1993). The impact of dreams on waking thoughts and feelings.

A. Moffitt & M. Kramer & R. Hoffmann (Eds.), The functions of dreaming. (pp. 419-476). Albany, NY: State University of New York Press.

Hall, C., & Castle, R. 1966. “Content Analysis of Dreams”, Appleton-Century-Crofts Ed. [Book]


Timetable

Conceptualised stop motion in Storytelling

A brilliant stop motion/motion picture conceptual video.

Adbusters look-through

A summary of an issue of the Adbusters magazine


Ad Busters Magazine
Nov/Dec 2008 #80 Vol: 16:6
Freedom from Want

In this magazine, the following articles caught my attention and decided to interpret them.
Hipsters (a 1980’s US Counter culture)
According to www.princeton.edu, a Hipster is someone who rejects the established culture; advocates extreme liberalism in politics and lifestyle. These hipsters grew out of a generation of rebellion and oppression (possibly carried forward from the 1960’s hippie generation) and became a resilient feature of the late 19th century. It is safe to say that the hipsters believed in revolution as the only redemption and carried out many a protests and rallies as a way to fight for justice. Every activist had the following items (props) which were symbolic in a way. They were:
• Cultural bible (newspapers, magazine etc)
• Flag
• Footwear
• Media Literacy Kit
• Megaphone
• Art

The time has come for a radical shift in priorities. We are now faced with some of the most daunting global challenges in human history. These are real targets, worthy of our problem-solving skills, ripe for our intervention. Yet, those who have the vision to rise above national and political boundaries still have no symbol to rally under. Through my film, I want to create these symbols, using set design and prop construction as a medium. My main aim is to use these props as words to narrate my story.

Key Word – Abstraction
What is Abstraction?
• Pure form?
• Hue of infinity?
• Glimpse into spiritual structure of nature itself?
• Loss of empathy?
• Fear of death?
• Or just a virus embedded in the Western mind?
These pointers merely define what an abstraction could be. It is still an ambiguous term that changes subject to context. But this can be said about almost anything these days. Contextual symbolism is a topic that many have touched upon, but not many have fully explored. I want to try and make abstraction a means to express deeper issues through my project.

The Planetary Endgame:
• Fever
• Urban Mining
• Organ sale
• Trickster capitalism
• Indifference
• Betrayal
• Decadence

In the future, men will wear T-shirts displaying a picture of their cocks and salary. Women will come in twos, for the monogamous woman will have long been bred out of nature in favour of the ménage a trois kind, so that finally, manly hunters can indulge in Miller-like fantasies and proudly gather their 15 seconds of commercialised ejaculation.
Light from stars will shine through atmospheric cutouts of corporate slogans, beaming onto Earth great adverts from the sky. Metal will erect into the clouds. You will stroke the building, riding it floor to floor, inserting yourself completely. You will let it warm you and feed you, nourishing insulation, fuck you mother.
Serial TV will be wired throughout your skull, and you will shut your eyes to internally display the good old pastime for your vicarious mind. Everything will exist outside ourselves, and though there will be means to everything, these means will be owned and assumed. As flies stuck in the web, we will be born as we are caught, our dreams the last measure of freedom we would have sought.
Life will be an ant farm. Numbers will bleed from the sky. Philosophy splashed with rhetoric and rationalism, churchmongers choking on faith pills.
Music will be reduced to one simple tone, perfectly balanced, the ultimate hook, impossible to forger and intrinsically unchallengeable.
Children will virtually kill each other, virtually.
Politicians will set up lemonade stands.
Oceans will be drained for real estate and land owners will display souvenirs of rusty coke cans found littered in their sand yards. Pornography will ascend to glamorous photos of shiny cars and you will jerk off to such aspirations.
Yin and Yang will go to war. Physically defective people will be quarantined to parks where families vacation to feel better about functionality. There will be no place for error. And here now, I sit around perplexed, a stale pesticide. In the past, I was a poet, full of diction and intellectual jargon in love with wordy ideas and mesmerising language, verbose for the sake of…
I hardly try anymore. In the future, I never existed.
- Steven Morgan

Working Script

Script for Short film – Stop Motion

Title: Tentative

Opening/Establishing shot – White walls (probably a white washed box room)

Shooting style: POV

Narrative: The film begins with an opening shot of a white empty room. No music – maybe a still beat. When the music starts, the room walls start getting covered in newsprint from revolution days etc. The camera then does a pan and a tilt where there’s a stack of newspapers. POV follow to the newspaper and the papers become little paper planes and are thrown around. One manages to slip out of the room (either through corridor or window – depending on room) and lands into Town Square. From then on, it is the journey of the paper plane that we will be shooting/following.

The paper plane is symbolic of us as individuals. Since the film so far has been shot in POV, the camera perspective changes and we can now see the plane in the film and the camera follows it. The camera will switch between POV and paper plane to establish subjectivity of the film.

The main idea of the film is to reflect on the meaning of a revolution and the reasons for it. It also discusses subliminally it’s ill-effects and what we can do to change things in our own little way without harming the larger welfare of others. In the end, it boils down to one fact – that we ourselves are the cause and effect of a revolution and change can be brought about only if we as individuals act on it. An inner revolution is what is the answer to everything.

To explain this concept without the use of dialogue or voice over I will be employing simple words from the dictionary to describe whats going on in the film. The following words (as it is) with meanings will show throughout the film:

Revolution: /rɛvəˈluːʃ(ə)n/
noun
• a forcible overthrow of a government or social order, in favour of a new system.
• a dramatic and wide-reaching change in conditions, attitudes, or operation: marketing underwent a revolution

Change: /tʃeɪn(d)ʒ/
verb
• make or become different:

Become: /bɪˈkʌm/
verb (becomes, becoming; past became /bɪˈkeɪm/; past participle become)
• [no object, with complement] begin to be

Be: /biː/
• To exist

Exist: /ɪgˈzɪst, ɛg-/
verb
[no object]
• have objective reality or being. As self.

Self: /sɛlf/
noun (plural selves /sɛlvz/)
• a person's essential being that distinguishes them from others.

The words (in this order) describe how a “revolution” ends up in “self”, and is a message that a revolution must end in an inner change or a change in self. The words are pulled out from the definitions of previous words to maintain continuity and a sort of derivative pattern. The words will appear at different turns of the town square – maybe at the end of a lane or on the ground the plane is flying over. The definitions will be followed by quick cuts of props used as symbols defining the word and some banners/cut outs of revolutionary art defining these words. After ‘self’ has shown in the film, the film will fade to black with a voice over/quote/question followed by end credits.

Look and Styling: Since revolution is the main theme of the film, the look of the film will have war like features. The main colours I plan on using are red, white and black, with hints of army green. The town square is the main element of the film and so much work will be put into the styling of the model. The reason I have chosen a town square as the central location of my film is because it is where most revolutions took place as it is a common meeting space for the people of a city. Also, squares are easy to work with in terms of carrying a story forward and are aesthetically appealing. Since the film is a stop motion animation project – I will be employing an intentional cut out style that will make the film look more organic and worked on, as opposed to dull and monotonous.

Mood boards/concept boards: I will be creating a series of mood and concept boards further describing the look of the film.

Research: All the research has been updated on the blog

Hidden Track & Banksy - Visual References

"Post Videogames Exhibited" - Installation, Basta Gallery. Lausanne, Switzerland. 2003

"Pavilion" - Wall Painting, Horie. Osaka, Japan. 2005

"Better Tomorrow" - Group Exhibit, Supreme Trading's Annex Gallery. Williamsburg, Brooklyn, USA

"Graffiti meets Windows" - Karl Grandin & Bjorn Atlday. Var Hankyu Dept Store, Osaka, Japan

"Showroom Dummies" - London

Banksy

Reading List - Feb/March

Klanten, R. & Ehmann, S. (ed.), 2005. Hidden Track. Berlin: Die Gestalten Verlag

Bachelard, G., 1994. The Poetics of Space. Boston: Beacon Press

Greenberg, A. C., 1979. Artists and Revolution: Dada and the Bauhaus, 1917-1925. Michigan

Verkauf, W., 1961. Dada: Monograph of a Movement . Switzerland: Arthur Niggli Ltd.

Kuenzli, R., 2006. DADA . London: Phaidon Press Ltd.

Dachy, M., 1990. The Dada Movement: 1915-1923 . USA: Rizzolli International Publications Ltd.

Jan Svankmajer - Claymation and more...

One of the great Czech filmmakers, JAN SVANKMAJER was born in 1934 in Prague where he still lives. He trained at the Institute of Applied Arts from 1950 to 1954 and then at the Prague Academy of Performing Arts (Department of Puppetry). He soon became involved in the Theatre of Masks and the famous Black Theatre, before entering the Laterna Magika Puppet Theatre where he first encountered film.

Svankmajer made his first film in 1964 and for over thirty years has made some of the most memorable and unique animated films ever made, gaining a reputation as one of the world's foremost animators, and influencing filmmakers from Tim Burton to The Brothers Quay. His brilliant use of claymation reached its apotheosis with the stunning 1982 film DIMENSIONS OF DIALOGUE. In 1987 Svankmajer completed his first feature film, ALICE, a characteristically witty and subversive adaptation of Alice in Wonderland, and with the ensuing feature films FAUST, CONSPIRATORS OF PLEASURE and his newest film LITTLE OTIK (OTESANEK) Svankmajer has moved further away from his roots in animation towards live-action filmmaking, though his vision remains as strikingly surreal and uncannily inventive as ever.

Bertolt Brecht

I have been reading about Brecht and his style of theatre and writing.

Bertolt Brecht; born Eugen Berthold Friedrich Brecht (10 February 1898 – 14 August 1956) was a German poet, playwright, and theatre director. An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production. he operated a post-war theatre company along with his wife called - Berliner Ensemble.

Brecht was a thorough Marxist and formulated a theatre style called "epic theatre" which served as a forum for political ideas. In this respect, he may be seen as having subtly influenced Sergei Eisenstein in his creation of the 'Montage' technique - similarly; using political dialogue and innuendo as the baseline of all his work. Similarly, Picasso's cubist collage is also one of the derivatives of Brecht's ideology. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties.

One of Brecht's most important principles was what he called the Verfremdungseffekt (translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect").This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them". To this end, Brecht employed techniques such as the actor's direct address to the audience, harsh and bright stage lighting, the use of songs to interrupt the action, explanatory placards, and, in rehearsals, the transposition of text to the third person or past tense, and speaking the stage directions out loud.


Epic Theatre

Epic theatre was a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners, including Erwin Piscator, Vladimir Mayakovsky, Vsevolod Meyerhold and, most famously, Bertolt Brecht. Although many of the concepts and practices involved in Brechtian epic theatre had been around for years, even centuries, Brecht unified them, developed the style, and popularized it.

Epic theatre incorporates a mode of acting that utilises what he calls gestus. The epic form describes both a type of written drama and a methodological approach to the production of plays. Brecht later preferred the term "dialectical theatre."

One of the goals of epic theatre is for the audience to always be aware that it is watching a play: "It is most important that one of the main features of the ordinary theatre should be excluded from [epic theatre]: the engendering of illusion." {Bertolt, Brecht "Brecht on Theatre", page 122.}

Epic theatre was a reaction against other popular forms of theatre, particularly the naturalistic approach pioneered by Constantin Stanislavski. Like Stanislavski, Brecht disliked the shallow spectacle, manipulative plots, and heightened emotion of melodrama; but where Stanislavski attempted to engender real human behavior in acting through the techniques of Stanislavski's system and to absorb the audience completely in the fictional world of the play, Brecht saw Stanislavski's methodology as producing escapism. Brecht's own social and political focus departed also from surrealism and the Theatre of Cruelty.


Salient features of Brecht's work:

- Real and everyday life
- Concept of 'making strange'
- Create a pensive space
- Collage/montage technique
- Changing 'reality'
- Usability of Art


References

Whybrow, N., 2005. Street Scenes: Brecht, Benjamin and Berlin. Bristol: Intellect Books Ltd.

Brecht, B., 1964. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. John Willett. British edition. London: Methuen

Reading List - Jan/Feb

I have been reading the following books and will discuss them in further posts:

Oddey, A. & White, C., 2006. The Potentials of Spaces. Bristol: Intellect Books

Kopp, A., 1970. Town and Revolution. London: Thames And Hudsom

Oddey, A., 1996. Devising Theatre. Great Britain: Biddles Ltd.

Simpson, J., 1990. Dispatches from the Barricades. London: Hutchinson/Random Century Ltd.

Visual References

In the current phase of research I have been looking into the works of Dada and Banksy. Having established two very different kinds of art and working in different medium, these artists have a similar aesthetic style and speak volumes about revolution and change through their artwork.

I have also prepared a collage of some famous town squares for reference.

Some useful definitions

The following definitions will most probably form the backbone of my narrative.


Revolution: /rɛvəˈluːʃ(ə)n/
noun
• a forcible overthrow of a government or social order, in favour of a new system.
• a dramatic and wide-reaching change in conditions, attitudes, or operation: marketing underwent a revolution


Change: /tʃeɪn(d)ʒ/
verb
• make or become different:


Become: /bɪˈkʌm/
verb (becomes, becoming; past became /bɪˈkeɪm/; past participle become)
• [no object, with complement] begin to be


Be: /biː/
• To exist

Exist: /ɪgˈzɪst, ɛg-/
verb
[no object]
• have objective reality or being. As self.



Self: /sɛlf/
noun (plural selves /sɛlvz/)
• a person's essential being that distinguishes them from others.

Back from Christmas

After a well deserved christmas break, I am now finally back to regularity - what with updating my blog et al. I have been doing some extensive research in areas of understanding what certain concepts originate and sustain themselves. My main area of interest now lies in the idea and ideology of a revolution. I have read through some books_ Revolution by LifeStyle (John Gerassi) and _ Peace Signs (James Mann) and come to a somewhat rough conclusion about what I want my narrative to contain.

I want to base my story on the concept of the inner revolution. I want to imply through a series of movement and design that revolutions spark inside a human being and when a collective set of humans join hands - the desired (r)evolution takes place. However, in today's world; the average man by himself is enough to start and evolve through a revolution. Its inside all of us to be that person.

More visual research coming up in further posts!


Reference:
Counter Culture, A collection (EUPS)
Peace Signs, Mann. J, (2004), Edition Olms Ag Zurich

I. Revolution