Born in San Miguel de Tucumán, Argentina, in 1982.

Choreographer, dancer and lighting designer. Has presented his own dance productions “The Factbook”, “White is the color of death”, “This was, this appears”, “Totoro”, “Disappear”, “Consagración”, “Zugarramurdi, o el prado del Gran Cabrón”, “Dim” and “Goat” on diferent venues in Amsterdam (NL), Buenos Aires and Santiago del Estero (AR). He also participated as a performer in dance projects, besides his own, by Nora Heilmann, Katerina Bakatsaki, Diana Theocharidis, Doron Hirsch, Koyama Ai, Diana Gadish, Cecilia Gómez and Liliana Toccacelli. His artistic interests cover a very broad range. His choreographic work, characterised by high energy and intense physicality, is based on the exploration of very diverse creative approaches, that range from the abstract and conceptual to the very narrative.

Has designed lighting for concert, dance, opera and theater performances in multiple cities in Argentina, The Netherlands and Belgium. He lectured on “Communication in lighting and dance” and taught as assistant to teacher Arq. Eli Sirlin at IUNA’s Bachelor in Lighting Design (Buenos Aires). He authored the project for exterior decorative lighting to two national monuments and two City Government offices in the City of Pigüé, Argentina.

At present he is a fourth year student of the School for New Dance Development (SNDO; bachelor degree) of the Amsterdam Arts University (AHK). He is a holder of the prestigious Huygens Scholarship granted by the Dutch Ministry of Culture, and has received grants to support his work from Instituto ProDanza (AR) and AHK Fonds Practicum Generale (NL).
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Here's a still from the projections on Dean St last month...  Along with a screenshot of the movie that was playing across all the windows...  I made a quick patch in max so that I could keyframe vertices to keystone the three different projectors beyond their natural capacities.

I am the video programmer for Big Art Group’s production of SOS. We began working early last spring of 2008 through Isadora to create a patch that could cue 8 cameras and 8 projectors. In addition to the live feeds, we also used green screens, chroma keying small video files (looped) from 4 Mac minis. Totalling 8 live cameras, 8 projectors, 3 green screens, 4 Mac minis plus 1 Powerbook Pro (as master board), and 3 A/V switchers to allow for chroma keying.  All of this was patched through a 16x16 Matrix swticher, to allow for switching between different combinations of video feeds to the projectors. We communicated between computers through an Ethernet hub that conversed with Isadora on all desktops. 
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So I have uploaded both pictures of Tallulah May and some pictures I have scanned from old Popular mechanics magazines.  I have a bunch more to scan but haven't gotten it done yet.  If anyone has any thoughts or comments about the vehicle for Stanley reference pictures, feel free to post.  I will keep adding more as I can.

Ch 

Stanley's sister was born on August 14th, Tallulah May.  I will upload some pics of her as well as some refrence photos for Stan's vehicle...

Cheers,

Joe

DPI:

Do you find that your designs are reproduceable? Why or why not?

Hal Eagar:

I used to run the shows I designed, for various reasons; from there was no separate operator budget to its more work to make it easy for someone else to run. Also I like the idea of the live animation and the ability to change things from day to day, that I enjoy kind of playing the video system like a instrument. Of course I tended to build them like that because otherwise I'd get board running the show myself as well.
Anyway that made it harder, but not impossible to reproduce, just more dependent on my brain than a book.

But now I'm living in the permanent time crunch that comes with being a parent so I'm always planning to have someone else run the show. I think this probably changes the way I create a show, less fiddly controls, just the crucial things.
That means that I do manage to put just about all the info needed to reprocude it into a book, or at least into someone else's head.   It may not stay in that person's head, and the book might not have enough info, since re-mounting the production is not my focus while putting it together, but it's a good start.
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Heavenly Robe, Carmonk and Blackhole
PERFORMANCE: August 27-30 $17/Student $12
Wednesday--Thursday, 8PM
Friday--Saturday, 7PM and 9:30PM

Ontological Theater

Japanese artist Yuto Kurosaka leads the group Y + Utopia ent in a
video and dance infused work, utilizing classical Japanese Noh and
Kyogen archetypes by turns sexy, funny and grotesque.  Heavenly Robe,
Carmonk and Blackhole plays with the fantastical and obsessed Noh
characters, Angel, Devil and Demon Lady. Dance can be found in the
video, shot in Japan (which includes the extraordinary Noh performer,
Norikazu Konparu), as well as onstage.

Writer/Director: Yuto Kurosaka:
Choreographer: Yoshito Sakuraba:
Composer: Shogo Samata:
Costumes: Lui Konno:
Musicians: Takeshi Suzuki and Shusuke Inaba
Ensemble: Xander X, Chloe Bourguignon, Feliziano Flores, Isis
King, Meg Hahn, Ritsuko Mano, Hiromi Shimada and Suzzanne Ponomarenko

DPI:

How do you hand off a show? What is that training process? How do you work with that? Do you also take on one of those? Or share work with a designer in another area? Or work as a team? Or do you run your own shows?

Hal Eagar:

Well really the operator has to be there for the final tech, and learn to feel the show in some way. I find that video is usually not called by the stage manager, at least not the way it's done in shows I work on. I suppose it's possible, but we're talking about many hundreds of cues, so the video operator needs to be as autonomous as possible.

Maybe that's asking too much but that's how it feels to me. Unfortunately I think I usually just end up dumping way too much information at the operator at once. I'm not sure there is any other way to do it, at least not on a theatre schedule.

Generally they will watch me working for a day, and I'll try and tell them what I am doing. And in the process I often think of several more things that I could be automating. Then they get dropped in the hot seat and figure things out, while I hang around over their shoulder filling in. And this hopefully gives me time to automate those last few things, and to write up the debugging sheet etc...

 

MEDIA TECHNOLOGIST/designer

Actors Theatre of Louisville
Reports to: Production Manager 
Department: Artistic 

Summary of Position:
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Submitted by Alyce Dissette on Wed, 08/20/2008 - 15:11.