Alumni news April update

Es Devlin and Naomi Wilkinson have been selected to join 11 other designers representing the UK at the 2011 Prague Quadrennial of Performance Design and Space in June, including Antony Gormley, John MacFarlane and Richard Hudson. The designs are Es Devlin’s Lady Gaga Monster Ball Tour and Naomi Wilkinson’s La Dispute for the Abbey Theatre, Dublin, and were selected by the SBTD team of curator Peter Farley, exhibition designer Sean Crowley, catalogue editors Greer Crawley and Sophie Jump, and SBTD President Richard Hudson. Visitors will also be able see Jon Bausor’s designs for Kursk by Sound&Fury at the Young Vic, as part of lighting designer Hansjörg Schmidt’s exhibit.

Paul Brown has been awarded a Golden Mask National Theatre Award in Moscow for Best Design in Music Theatre for Die Frau Ohne Schatten for the Mariinsky Theatre, which also won Best Opera Production for the team.

Kate Guinness and Lucy Read are part of the winning creative team who produced La Bohème for OperaUpClose. Having begun life at the Cock Tavern pub theatre, it transferred to the Soho Theatre and went on to win the Olivier Award for Best New Opera Production last month.

A new book was been published to celebrate 40 years of scenography by Professor Ramón Lopéz Cauly, Dean of The Faculty of Arts at the Pontifical Catholic University of Chile. The monograph explores 27 designs with short explanatory texts, technical specifications, drawings and photos. Accompanying texts are by architect Sebastian Gray, sociologist Maria de la Luz Hurtado Merino, writer Andrea Torres Vergara and Ramón Lopéz Cauly. It was published by Ediciones ARQ in February 2009.

Our task is to translate into visual and spatial terms the author’s message, adding our own point of view and deciding how we want to reach the public.
It is the designer who dispenses the formula for creating and managing the space of fiction and so impress the viewer, bringing an extra dimension to the everyday – Ramón Lopéz Cauly

At some point I had to choose between theatre and architecture, but the development in the speciality of lighting has allowed a dialogue between both disciplines. The dual professional experience has been cyclical and has given me great satisfaction: in one way or another, theatre and architecture should seek ultimately to aspects of human existence and living. Stage lighting, as well as allowing rescue from darkness and emptiness of selectively perceived fictional characters, takes us into the dramatic realm supporting the actions and the psychological environment in which characters are involved; the concept of time can be handled freely or according to the dramatic narrative. In the field of architectural or urban, there is no ready-made script, a story or a fiction. In some cases the script is the very presence and the value of the work, in others it is the citizen and the chance encounter of the dynamics of these encounters –  Ramón Lopéz Cauly

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