Drypigment.net: When you visit USITT, it is almost as if you are attending two conferences. There are the expected educational sessions and displays, but there is also the EXPO. You can solely visit the EXPO floor without ever attending the rest of the conference, for a fee. Cutting the ribbon to open the EXPO is a big event and students rush into the space, going from one exhibit booth to another, collecting swag.
3 comments:
I found this article very interesting. I have a new-found love and appreciating for scenic art, and when I hear people talk about how projections are going to take over the use of painted drops and that the need for scenic artist are dwindling, I think that they are being ridiculous. I think that a painted surface or drop carries much more meaning than a projection, and that there are certain scenic qualities that are lost in trying to replace them with a quickly transitionable digital rendering. This sort of sentiment was what the author described in the first portion of the article, and I wholly agree with their reasoning. Thus, I was taken aback when they stated that digital technology has yet to surpass that of painting. But I think they do have a point with the argument they make – if scenic artists learned digital scenic art skills, digital scenic art would probably look much better. The only obstacle I see in propelling a movement of scenic artists becoming media specialists as well is that these skill sets take a long time to master. Scenic painting is a artistry that takes years to become comfortable and skilled at, and digital media creation also takes a long time to master, especially with all the different platforms that exist and how different they all are from each other. I think that the conversation that this author is trying t ignite is a very compelling one, and I am interested to see what scenic art expands to include going forward.
I thought this article was cool and different because of the way the author is speaking to the audience. The entire article has a very laid-back and relaxed feeling about it, which made this article particularly easy to need. When going to a theater school, you hear a lot about USITT and the author gave the audience an insight on what it would be like to be there. The author went on to describe the details of USITT and is able to make the reader feel like they were there as well. It was really interesting to see all the media and art that was present, I think the author did a great job at decoding each piece and making it clear the way in which it was constructed. Hearing the authors point of view made me view everything differently. I think it’s important to do that as a writer because implementing new ideas is how one interprets everything and creates their own experiences.
The paragraph focusing on exploring the visionary of the scenic art is my favorite part of this article. The evolution of the existed discipline in the theatrical art is the single topic I really looking for in this kind of gathering events. All the artist, no matter ages, locations and cultural backgrounds are gathering to seek for the further possibilities in their invested field is such an encouraging thing to see as a younger member of the group. The digital drop mentioned in the article is actually a big thing to me, to expend the boundary of the known materials that fits the theatrical purpose for our good, and also provide another available design range for the scenic artists. Being on the technical side of the production, I am always looking for new piece of gear to apply into our existing routine of building scenery. Though in most of the time it would turn out unsatisfying or just off the target at all, every attempt pushes us into the deeper future we are imagining.
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