A) Modeling is altering the dimensions of
an imaginative idea to make it more accessible and practical for the
comprehension of future developers.
B) The topic of
children’s theater is full of models and dimensional thinking: costume and set
renderings, lighting charts, staging plots, and more. These condensed versions of what happens on stage are
important to discuss and adjust before full-size elements are constructed. In the creative process, these models
are imperative to the foundation of the success and reception of the show: “Perhaps
the most important thing that modeling does is to provide the modeler with
complete control of a situation, object, or idea – or, conversely, to reveal
explicitly where control or understanding is lacking” (230). This “understanding” and meshing of all
of these elements into one organic unit is a challenging process, especially
when appealing to an audience of 1st graders with imaginations
larger than our own!
However, this is where Noguchi and his
idea of “emotional space” can be utilized. Not only do children need to interpret and be fascinated by
the theatrical elements planned from modeling, the staging of the musical can
heighten their reality; they can transform mentally from being an audience
member to living with the characters in their fictitious world. Importantly,
this is unique to the venue of theater: “emotional space might exist on stage
and around sculpture but not in a television tube” (218). The concept of dimensional thinking
also requires us to utilize perspective, which amalgamates with emotional
thinking.
CEP 818 - Modeling Video
C) For this project, the concept may seem
quite simple – the delivery of an introductory line from various points in the
room (or for our imagination’s sake, a stage). But even 5 steps backward can create an entirely new
presence on stage, one that is less warm and familiar. Each of these perspectives is
different. They illustrate the
importance of planning out stage models and preparing actors to rehearse it.
I chose to do this because of my current
workplace. At English village, our
shows are very different from those currently being performed in United States.
Visually, they may look quite similar to a standard children’s musical –
colorful, bright, and full of life.
However, our shows involve a dangerous element: audience participation.
I choose the adjective dangerous because many elements of the show become
improv-based. The audience’s ability to comprehend the story and assist the
characters on stage is different with each show. Though nerve-racking at times,
that is why working here is so thrilling. Every day and show and scene is new
and organic. The Root-Bernstein’s argue,
“space itself contains part of the emotional message” (218). For these audience participation bits,
we enter the audience to seek their help.
Many of our patrons cannot speak English well, but they can still feel
the emotions and energy of the moment in an amplified environment.
When I return to the states, I hope to
continue working in children’s theatre.
I have experienced how effective the altering of dimensional thinking has
on our audiences. I want to urge
the actors and directors I work with in the future to try out these methods,
because the only way to make a better model is to take risks.
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