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The day I watched my Dad pull his gun

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During my second year as an MFA candidate in the ceramics department here at OU, I am exploring childhood recollections through recreation and adaptation. My hope with this work is not only to recall memories that are significant to my development, but also to revisit times in my life when important people (such as my father, grandparents, etc.) were still living and, in turn, still a source of comfort and safety. On to the project… For this iteration of the piece I’ve titled “The day I watched my Dad pull his gun”, I moved my studio into the installation space up at the Ridges for 2 days. During this time, I built loosely constructed wooden supports out of 2x4s that would eventually hold raw clay constructions of the human hand. I enjoyed working with raw clay in this manner because it allowed me to construct these pieces free of the anxieties most often accompanying ceramic media (for me, anyway). Since these pieces were never meant to be fired, I didn’t have to concern myself with the integrity of the construction, and was able to loosely push, attach, and slap the clay around in ways that I enjoy most. The second element of this piece was a running video of the original Nintendo game, Duck Hunt. Each time the duck was ‘killed’ in the game, I dubbed over the rifle sound with a more realistic amplification of a .45 automatic handgun. Lastly, I pulled imagery from Duck Hunt (grass and a tree/bush), recreating it 2-dimensionally in wood. These wooden elements were then displayed in the foreground of this 3-dimensional installation, giving the viewer the sense of a stage set, or some other temporary type of display. I am excited with the direction of this piece and, hopefully, the work that will follow this new mode of working. Thank you for reading about my project, and I welcome any feedback through email. -SH      ...

Recreating Robert Rauschenburg’s “Monogram”

By Linda Di Bernardo

The job of the props artisan is to create the objects that enhance the believability of the world of the play. If done well, both the audience and actors willingly allow themselves to be transported and suspension of disbelief can only achieved if the props are accurate and authentic. bobrauschenburgamerica, by Charles Mee was the first show of the 2014-15 season produced by the Ohio University School of Theatre. One of the props called for was a reproduction of a well known sculpture by the artist Robert Rauschenburg called “Monogram”, which depicts a life-size goat with a tire around it’s belly and a face full of paint. This required extensive research into not only accurately depicting a life-size goat, but how to do it both cheaply and efficiently – two other important factors of being a props artisan. For roughly $120, and on a three week time frame, the goat was constructed through a multi-step process from plywood, carved and applied foam, yarn, and sculpted wood....

Projections for Assassins

By Chet Miller

Ohio Universities second main stage this season was the show Assassins. Sondheim has the play structured to build up to the killing of Kennedy by Ozwald. Traditionally, the Zapruder film is shown at this moment. Our set was designed to show the fil on the back window of the book depository. I wanted to explore the moment as a frozen moment in time. The zapruder film actually loops in the background, as commentary about the cyclical nature of tragedy. On the floor and the wall, Walter Kronkite announcing that the president has been shot is projected. The floor projection is the primary way that Ozwald is lit in this section. Finally the floor projection and the windo projection shift to be scenes of Ozwald being paraded up and down the halls of the Dallas Police station. The @Lab provided both of the projectors used in this project. The window is a rear projection using one of the wide throw projectors which proved to be ideal from the A2 station, allowing the projector to be shuttered manually by the backstage sound person when not in use. The floor and wall projections all came from house left using the large panasonic theatrical projector. The three videos were mapped onto the wall and in a circle to follow the shape of the stage. The included pictures are first a digital rendering used during production meetings. The other image is an archive shot of the moment. The whole sequence can be seen at http://www.youtube.com/watch?v=DtpQMfGKx7U  ...

Eurydice

By Chet Miller

For the first mainstage of the season, the OU School of Theatre performed Eurydice by Sarah Ruhl. The @Lab was essential for all aspects of the projection design. At one point, the title character falls down a flight of stairs, tumbling all the way to the underworld. This was filmed in the Ohio University Pool, edited in the @Lab and then projected onto plastic drops all over the stage during the performance. A few of the other projections are the high rise apartment of the Nasty Interesting Man and the falling petals of Eurydice’s wedding.

Marisol

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The @lab is currently lending the Ohio University School of Theatre technology to put on a production of Marisol by Jose Rivera. Using a webcam that we borrowed we have been able to do time lapse video of the set painting and lighting focus of the space.

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