Conceptual Hookup,
2017
Boise State University
Conceptual Hookup, Brandon Washington
The Flick (2017) - Lighting
The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.
Research Analysis, Act I, Scene I,
2017
Boise State University
Research Analysis, Act I, Scene I, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Storyboard: Act Iii, Scene I,
2017
Boise State University
Storyboard: Act Iii, Scene I, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Channel Hookup,
2017
Boise State University
Channel Hookup, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Cue List,
2017
Boise State University
Cue List, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Lighting Section: Sun,
2017
Boise State University
Lighting Section: Sun, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Cultural Matrix,
2017
Boise State University
Cultural Matrix, Brandon Washington
The Flick (2017) - Lighting
The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.
Lighting Section: Projector Bounce,
2017
Boise State University
Lighting Section: Projector Bounce, Brandon Washington
The Flick (2017) - Lighting
The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.
Research Analysis: Act Ii, Scene Ii,
2017
Boise State University
Research Analysis: Act Ii, Scene Ii, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Lighting Section: Fdr Back Diagonal Light,
2017
Boise State University
Lighting Section: Fdr Back Diagonal Light, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Channel Hookup,
2017
Boise State University
Channel Hookup, Brandon Washington
The Flick (2017) - Lighting
The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.
Lighting Section: Ominous Sky,
2017
Boise State University
Lighting Section: Ominous Sky, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Lighting Section: German Back Diagonal Light,
2017
Boise State University
Lighting Section: German Back Diagonal Light, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Lighting Section: Red Dawn Trench,
2017
Boise State University
Lighting Section: Red Dawn Trench, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Lighting Section: Moving Lights Back Light,
2017
Boise State University
Lighting Section: Moving Lights Back Light, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
News - Oconee County Library, Athens Regional Library System,
2017
Athens Regional Library System
News - Oconee County Library, Athens Regional Library System, Rebecca Ballard
Georgia Library Quarterly
No abstract provided.
Laban For The Actor: The Mind/Body Connection,
2017
Virginia Commonwealth University
Laban For The Actor: The Mind/Body Connection, Margaret C. Buckner
Theses and Dissertations
When it comes to actor training in higher education, an extremely strong emphasis is placed on understanding the voice and interpreting the text. While some institutions do incorporate movement courses into the curriculum of the students, many do not serve the learning actor in the most effective way. The work of Rudolf Laban is a way to strengthen the curriculum taught to actors, specifically in regards connecting actors to their bodies. This thesis discusses and analyses the use of Laban’s movement theory in the movement classroom, and focuses on the most effective way of presenting the material to the student. …
Process Metamorphosis, My Choreographic Journey,
2017
Virginia Commonwealth University
Process Metamorphosis, My Choreographic Journey, Brianna J. Larson
Theses and Dissertations
Process Metamorphosis, My Choreographic Journey describes the journey from my initial interest in choreography to where I find myself as a choreographic artist today. Throughout the paper I look at different productions I have worked on, both professionally and within an educational setting, and different people I have collaborated with. Included will be thoughts from peers and mentors as well as my own observations from rehearsals and meetings. I will also be pulling information from my notes and journals while working on shows over the last twelve years.
Finding Voice, The Body Speaks: Original Work And Counter-Hegemonic Performance And Practice,
2017
Virginia Commonwealth University
Finding Voice, The Body Speaks: Original Work And Counter-Hegemonic Performance And Practice, Matthew Paul Thornton
Theses and Dissertations
Graduate study in theatre has allowed me to understand my work as an artist and educator from a critical academic perspective. I have researched Butoh as a model for original work that employs multiculturalism against hegemonic control of personal identity. From my own training experience, I am recognizing Capoeira, Contact Improvisation, and Devising processes (co-creation or collaborative creative process in dance) as counter-hegemonic forms and techniques that share a physical/philosophical emphasis on communal engagement, improvisation, circularity and repetition. Looking at them together provides points of intersection for me to examine them as an artist, while posing questions for cross-cultural investigations. …
Should We Straighten Up? Exploring The Responsibilities Of Actor Training For Lgbtq Students,
2017
Virginia Commonwealth University
Should We Straighten Up? Exploring The Responsibilities Of Actor Training For Lgbtq Students, Matthew B. Ferrell
Theses and Dissertations
Gay actors have a long history with the notion of “straightening up” to remain castable and economically feasible in today’s market. Searching to find answers for young acting students while strengthening their own self worth, I will explore the history of gay actors in film, television and theatre and in society to understand this notion more fully. By interviewing working actors and managers in the business I will explore how I can address this question of “straightening up” to the future generation of actors and analyze how we can face the future with integrity and self-respect.
