Am 14. February stand ich im Orpheum in Graz, mitten unter den Menschen, als Berq anfängt zu singen und ich einen Klanglicht Flashback bekam. Eine LED-Stange, zurückhaltend, minimalistisch, aber mit Maximum an Effekten. Genau so etwas nutzten wir damals im Oktober in unserer Installationsarbeit. Ich konnte mir nicht helfen und lachte laut. Es war dieser Moment, in dem alles zusammenkam: Das, was ich mir früher einfach nur angesehen hatte, verstehe ich jetzt technisch und konzeptionell. Ich weiß jetzt, wie man so etwas macht – und könnte es selbst umsetzen.
Früher hätte ich nur die Visuals in Staunen bestaunt, jetzt sehe ich sie anders. Ich merke mir die Technik danach, die Logik des Lichtmanagements, die Effektivität von kleinen Details. Es ist nicht mehr dieses zauberhafte „Wie haben sie das gemacht?“, sondern ein „Easy, mach ich dir“. Und genau das ist wie ein richtiger Schritt voran.
Kunst und Technik vermischen sich auf eine neue Weise, wenn man einen Schritt mehr hinterher weiß. Und das ist es gerade, was mir in diesem Moment gezeigt wurde: Ich bin nicht mehr allein Zuschauerin – ich bin jemand, der es selbst tun kann.
Some new ideas for a master thesis topic based on stage especially converts visuals and motion graphics:
Interactive Stage Design and Technology:
Exploring the integration of interactive technologies (sensors, motion tracking, etc.) in stage design to enhance the engagement of the audience.
Investigating how real-time data can influence stage visuals, such as incorporating audience reactions.
Cinematic Techniques in Stage Productions:
How can cinematic techniques, such as camera angles and movement, be adapted for live stage performances. Exploring the challenges and benefits of this approach.
Digital Storytelling in Live Events:
How digital storytelling techniques, such as nonlinear narratives or interactive plotlines, can be implemented in live stage productions.
Lighting Design and Emotional Impact:
The psychological impact of different lighting designs on audience emotions. How can lighting be used to enhance the mood and atmosphere of a performance?
My inspiration:
My inspiration for this topic were two very previous concerts i visited – RIN and Shirin David. But especially the stage visuals at RIN’s concert spoke to me. I recorded a lot of videos, not only because of the music and the artisit RIN, but because i loved the motion graphics and how his visuals supported the songs and show. There were a lot of interactive aspects, for example often a live camera tracked the artist and projected his silhouette, but different styles were added to the material. At the end of this blog entry are some of my filmed footage – just to document the videos:
Why it it important to have stage visuals:
Having interactive and visually captivating stage elements at a concert is crucial as they play a pivotal role in enhancing the overall artistic expression and emotional resonance of the performance. These visuals go beyond mere embellishments; they serve as dynamic companions to the artist and their music, forging a deeper connection with the audience. Interactive stage visuals create a multisensory experience, amplifying the impact of the songs by providing a visual narrative that complements the auditory journey. In doing so, they contribute to a more immersive and memorable concert experience, making it not just a sonic event but a visual and emotional journey. Furthermore, innovative stage visuals can help artists convey their artistic identity, reinforce thematic elements within their work, and engage the audience on a visceral level. As technology continues to advance, the integration of cool and interactive visuals in live performances becomes an invaluable tool for artists to distinguish their concerts, leaving a lasting impression on attendees and fostering a sense of connection between the performer, the music, and the audience.
Disadvantage? Literature?
Up to this point i found it really hard to find any solid scientific literature in this field. Which for me makes it really hard to have a starting point or more like a theoretic background and the beginning of the master thesis. Some ideas i would have for this problem is to interview artists, potentially some stage visual artists or in general people who did work in this area. For this i would have some connections to a few people who work at Universal Music in Berlin and a friend who already did some stage visuals for an artist, but only to a very small extent.
