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Academic Year 2010-2011
Master in Light Design
Academy of Light
Accademia di Belle Arti of Macerata in collaboration with ELSA Foundation and the Politeama Theatre in Poggibonsi (SI)
organize a Master of 1° level in Light Design and Cine-TV Photography
The major aim of the Master is the formation and professional valorization of the Lighting Designer profession and of the Author of the Cinematographic and Television Photography, in every field of the visual communication (show and culture), of the visual exhibitions (exposures, set design, live events) of the architecture and urban planning.
The formative course gives 60 formative credits with a development of 1500 hours: activity of theoretical preparation, planning applied to the several fields of lighting engineering, thematic seminaries and moments of practical experimentation.
TEACHERS:
AJ Weissbard (Lighting Designer)
Marco Incagnoli (Author of Cinematographic Photography)
Alessio Torresi (Author of Cinematography - President A.I.C.)
Pino Quini (Director of Photography RAI)
Franco Ferrari (Director of the Television Photography)
Walter Balducci (Camera operator)
Aldo Visentin (Lighting Designer)
Filippo Cannata (Architect Lighting Designer)
Marina Vio (Architect teacher of lighting engineering)
Guido Levi (Lighting Designer)
Valerio Alfieri (Lighting Designer- Lyric)
Lucilla Baroni (Lighting Designer Prose-Dance)
Livia Cannella (Multimedia Set design)
Piergiorgio Capparucci (Lighting engineering Teacher ABAMC)
Romano Baratta (Light Artist and Lighting Designer)
Jerry Roberto Romani (Light Programmer and Wyg Educational)
download the announcement:
http://www.abamc.it/allegati/bando_LDFC_2010-2011.pdf
Info: info@accademiadellaluce.it
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Academy of Light and ELSA Foundation organize:
7-8-9 april 2010
Theatre Politeama Poggibonsi (SI)
Teacher: " Jerry" Roberto Romani
Authorized instructor of the WYSIWYG software
The workshop of specialization is structured for the operators of the lighting engineering field, such as technicians, lighting designers, photography directors of cine-tv photography, console operators.
It is necessary a good knowledge of computer.
The aim of the course is to give the basis to realize three dimensional projects.
At the end of the course the students will able to create images, realistic photos of luminous environments and to print the lighting engineering plan.
It is necessary a personal notebook with precise characteristics.
Info and program:
tecnico@fondazioneelsa.it Tel. 348-9350963 368-954781
Foundation E.L.S.A. Communes cultures, is glad to communicate that in occasion of the “Laboratory of stage” and of the Workshop in at the Theatre Politeama of Poggibonsi (SI), the participation quota has been reduced to 200 euros.
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21-25 JUNE 2010 Laboratory of Stage
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Foundation E.L.S.A. Cultures Communes.
TheAcademy of Light with the Sponsorship of Poggibonsi (SI)
and the Province of Siena
organize a
“laboratory of Stage” from 21-25 JUNE 20102010
Teatro Politeama of Poggibonsi
Matters of Study:
STAGING
SET DESIGN
PROPS
LIGHTING ENGINEERING
SOUND
The theorical-practical Laboratory is supported
with technical-didactic material.
For registrations and information: Tel. 368954781 - 3489350963
info@lighteducation.com
tecnico@politeama.info
Foundation E.L.S.A. Communes cultures , is glad to communicate that in occasion of the “Laboratory of stage” and of the Workshop in at the Theatre Politeama of Poggibonsi (SI), the participation quota has been reduced to 200 euros.
Foundation E.L.S.A., in fact, believes, that in a moment of great economic crisis, is necessary to invest and to promote formative activities, rendering them accessible to the greater number of people without renouncing to the offer quality.
Our attempt is to create a pole of spreading of the theatrical techniques, above all where it is possible to perceive the absence of professionalities.
Our courses are open also to all those people that want to acquire competences inside the show or reskill to answer to the demand of this market.
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2011 - International Year for the Culture of Light
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Light is energy, matter, it is a cultural value.
It is communication, language and therefore being revelation.
Light constructs and acts as intermediary in the relationship between the space and the psychic dimension of the subject, it makes the movement perceptible, it orders and defines all the real phenomena, transmitting the values of emotion and expression.
Therefore Light is a sign full of meaning and it can communicate the universe of emotions, sensations, vibrations and thoughts that constitute the expressive instrument of art.
The International Year of the Light Culture wants to involve all the institutional, private and public subjects that want to create new expressions and opportunities through the language/writing of Light.
The "organizing committee" suggests a program of international initiatives dedicated to the spread and to the affirmation of the Light culture for all the year 2011.
All the Countries of the world are invited to promote studies, manifestations and to propose contemporary and synergic activities and events during the year of the manifestation.
The important participation of associations like:
PLDA, IALD, IESNA, ABrIC Brasi them, AIDI, A.I.C., APIL, APIAS, TEN network, AILD, OISTAT, Association LIGHTS, LumiVille, USITT, etc
will be the best guarantee of the events quality and of the contents proposed.
“For the rest of my life I will reflect on what light is.”
Albert Einstein
www.2011lightculture.com
www.2011lightculture.org
info@2011lightculture.org
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I meet Livia Cannella in Piazza del Campidoglio, in the middle of her latest scenographical creation: for a few hours, Palazzo dei Conservatori’s façade was lightened with images, for the inauguration’s occasion of the exhibition “Memories of the Ancient”.
The projections concerned the most beautiful sculptures of the capitolini museums, moreover some reproductions of the temporary exhibition, meaning to homage these museums.
Two videoprojectors positioned at calculated distances under the Palazzo Nuovo’s arcade, drawed shapes on the opposite façade, each one having been positioned on purpose to respect the architectural lines: the shapes seem to be leaning onto the mouldings, lying down on the cornices or sitting on the terraces.
Livia Cannella is in the location with Stefano Lattanzio, from Art Sound, who takes care of the technical management, being an essential part of every scenographical projection she creates.
How do you invent a scenographical installation? Where does everything begin?
It all starts with an idea. There are two procedures: an ordered project or a dazzling idea, which happens to me more often, thanks also to a consolidated technical-creative feeling with Stefano Lattanzio.
In the case of an ordered project, the first approach to the architecture is alone and by night.
I try to interiorize the location and search for inspiration.
Then suddenly the concreat project arrives, including an artistic and a technical part: calculation, measurement, marking and if possible some tests.
All this is a synergy between creativity and effective technical know-how.
Did you choose this evening’s images to be projected?
Projecting is reproducing another reproduction.
In this case I selected them amongst the reproductions of antique works made during the Grand Tour period.
What is the technical equippement composed by?
Lattanzio intervenes – in this case we used Pani, optical videoprojectors.
These are huge fondografi that project fotographical painted or carved plates.
I would like to weigh up – Cannella adds – that I try to avoid that the results of my installations depend on the potentiality of a machine, which will always be that for me. It’s not the idea that depends on the technical possibilities that the machine can offer me, but the opposite.
So I feel that, while creating my installations, I’m not necessarily dependent on the run-up for technological progress.
Machines that “can do too much”, can also seize you.
Do you always use sound in your scenographies?
Yes, I do. Today was an exception.
The combination of sound accompaninent with the images is essential, like the relation with whom builds the music for my works.
The musician I prefer is David Monacchi, he makes sounds for space.
Anything I propose to him, I can be sure to obtain a perfect match sound- images.
For the lighting of the Palazzo delle Poste during the last Notte Bianca, I asked him to create an effect of playing, joking.
He knew how to find the right accompaniment. Thanks to our professional understanding, the colour of the scenography becomes sound, and the sound becomes colour.
You prefer to work with fixed images. Why?
Moving projection has always a television effect, it distracts. Using fotograms instead, like I did at the Festa del Cinema 2007, fixed images are repeated.
What I want to obtain, is slow motion. A fixed and prolonged scenography allows the public that walks by, to use their head and feelings to interpret and enjoy the projection.
A dinamic projection instead, takes away the autonomy from the spectator because it obliges him to follow the timing of the video.
And I never create anything that I myself, as a spectator, wouldn’t watch.
What do you mean?
I don’t want to make effects, but I want to say something.
If there is no valid idea behind it, I prefer not to present anything.
It’s important for me to know exactly what the message must be, rappresent a precise idea.
It is very satisfactory for me to notice that every show I have realised, is faithfull to the idea I had made of it in my mind.
The initial intention has to be clear to the audience.
Otherwise they just walk by and go away.
This is the reason why I don’t have a repertory of shows and in my web pages there are no ready projects.
Every idea – Lattanzio intervenes too – is suited to the location, sewn on purpose on that place and never recuperated from a former project.
You starter working for the theatre.
I started to do theatrical scenography projections with “Le Bacchidi” and “Tieste”, two Ruggero Cappuccio’s plays, produced by the Teatro di Roma and directed by Luca Ronconi.
From there I moved on to the huge theatrical dimension. After that, city doors opened for me… and I left the theatre for a while.
Urban scenery is perfect for my installations. But I’m not saying this will be it.
Quiete a different approach, the one between theatrical scenography and urban architecture.
Yes it is. In urban location it’s not possible to try.
We’re used to do “first time right”. Of course everything is precisely calculated, obviously there’s no approximation.
But there is always some risk but we handle it by experience.
I have learned to approach to the city in a sensitive way, also thanks to my architectural education.
For example, I noticed how it is better not to have city lighting completely turned off.
The building, the square, the monument does never have to be completely dark.
You have to be able to perceive it. The projection has to go together with the architecture.
So, how usefull is your architectural education for your activity?
For me it’s the foundation.
It gave me the technical knowledge and trained me to read urban spaces, having to approach them with sense of measure.
I’ve never had any problems with the City of Rome or with the Cultural Superintendent’s office, having been very carefull in drawing near to the artistical works.
What do you think about the using of color in fixed urban installations?
It’s a very delicate framework, where one can do either very well or very wrong. The use of colours in the cities is a spectacularisation.
It’s allowed untill it’s a temporary game, who wants to, remembers, and who doesn’t, forgets.
It’s important not to mix up the projection of lights with the nature of the surface where it’s been projected on.
If one will cover the other permanently, there’s the risk of working with too much self-assurance.
Interview by : ELEONORA VESCARELLI
Traslation: Päivi Nardi
Livia Cannella is an architect, she lives and works in Rome, where she was born in 1961.
She devides her activities between conceiving and creating stage projections for theatrical and urban framework, and urbanistic and territorial planning
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Starting from the creation of suggestive theatrical scenographies, she works out staging for events, conventions, concerts, where she does the urban framework scenics.
Her association with the city of Rome is very important, the lighting of its most famous monuments has been created by her (for example Villa Borghese, Fontana di Trevi, Piazza San Silvestro, Santa Maria Maggiore, Castel Sant’Angelo) besides she has taken part at events like the Cinema Festival and several editions of the Notte Bianca.
Her activity has been introduced at the “Sister Cities Program Summit on Strategies for Urban Public Art” in New York, as an artistical experience taken place in the city of Rome.
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