Thursday, October 29, 2015
Tracy Nunnally Rigger Extraordinaire
Theatre content from Live Design: To Tracy Nunnally, rigging is like dancing. While the owner and president of Hall Associates Flying Effects—a special effects rigging company that he joined in 2000 and then bought in 2005—can program a motor to move fluidly, Nunnally still senses a cold, mechanical feel to the effect. “But if you get an operator who is pulling on a rope and interfacing with an artist who is on stage, then they are kind of like dance partners,” says the rigger. Suddenly, the action is more organic, born from the human connection, as opposed to one person trying to dance with a machine. “For me, the function needs to follow the form.”
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First of all, I can't actually read the full article without making an account. Regardless, what I can read of it spurs a conversation that I think is important to have. There is a sense of disconnect created that technology that I struggle with personally. Using a computer interface for creating something is not as powerful for me as the physical motion of doing it. Sketching on a computer will always turn out more disconnected than it would on paper, just as organizing a written essay will always be easier for me if I can physically cut it into sections and rearrange it. There's a connection that is created by the physical act of drawing or writing that solidifies something: this rigger understands that in order for the performance to have that kind of connection it is better that it is operated by a human being instead of a computer. There is something there that computers, with all of their finesse, have not been able to replicate.
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