Theatre Design & Technology - Spring 1994 - 32

orher hand, IS are characrerized by a cerrain balance berween
rhe unexpecredness of rhe inirial form and rhe predicrabiliry of
irs rransformarion, rheir nonaccidenral, non-casual connecrion.
This connecrion is due ro rhe facr rhar IS images are marhemarically rigorous represenrarions of a single I'olume of a phl'sical
bodl·. The abol"e menrioned srrucruring of IS produces a son of
"capruring" and "reraining of arrenrion.·'
The influcnce of laser lighr images on rhe specraror is so
srrong rhar rhere occurs a son of idenrificarion. In rhe srrange,
unknoll'n space of IS, rhe specraror seems ro II'arch his O\I'n subconscious, which II'as prel'iously closed ro him-ourer space
meers inner space. Herman Hesse described rhis srare as a resulr
of warching complex naruml forms:
The surrender ro odd, irrarional forms in narure produces
in us a sense of harmolll' of our inner being wirh rhe will
which has been responsible for rhese shapes. Soon we
become aware of rhe remprarion ro rhink of rhem as being
our own moods, our own crearions; we see rhe boundaries
berween ourselves and narure quiver and dissolve, and we
become acquainred wirh rhe srare of mind when we are
unable ro decide wherher rhe lineamenrs of our bodl' resulr
from impressions received from ourside or from wirhin us.
In no orher pracrice is ir so simple ro discover how crearive
we are and ro whar exrenr our souls panicipare in rhe conrinuous crearion of rhe world ... "
There are some orher rypes of laser lighr effecrs, bur rhev are
rarely used and we will nor consider rhem here, especially as
rhev mal' add norhing ro rhe srudv of anisric cOI1l'enrion of
lasering.
Now ler us have a look ar a laser show as a piece rhar may
be produced as a combinarion of rhese eHecrs. Here we need ro
make an anah'sis of some basic conceprs. To be precise, II'e need
ro form perspecrives of rhese conceprs rhrough resulrs arrained
by differenr areas of knowledge. These areas use differenr rerminolog~'. We would nor rry ro inrroduce new jargon or develop a
universal language, bur ir is necessary ro poinr our rhe "rerminological" problem ro avoid misundersranding. For example, such
rerms as "spaces" and "dimensions," which in rhe following
conrexr will have rhe same meaning, will be used in parallel
wirh each orher.
Any work of an has a mulrileveled srrucrure ro carry our irs
main funcrion-ro communicare ro rhe audience rhe message
from rhe anisr, his "personal experience of life." In rhis srrLICrure three levels mal' be defined-representarion, expressiveness,
and sense-that create a cenain unin·. Thel' also may be looked
upon as differenr "spaces" or "dimensions" of the work of art
gil·en. The lel'el of representation is formed bl' data communicated physicallv-the outer anistic form. The level of expressiueness conrains information plwsically presenr in the work of
an in the form of minor aberrations of the original image that
are produced bl' the anist conscioush- or unconsciousll' ro form
the "feeling," the emotional conrenr of his work. The level of
sense conrains the author's message ro his audience. If we look
upon a work of an as a separate file, the level of representation
should be considered as a cover, a shield that mal" be plll'sicalil'
delivered ro a recipient. The lel'el of sense is the inner conrenr
that mal" nor exist II'ithout being attached ro some outer form.
And it is the lel"el of expressiL'eness, that belongs ro the outer
form, that arraches the inner conrenr ro the shield.
Conrenr, existing subth' in a work of an, is not and cannot
be depicred on the represenrational lel·el. .\luch of that II'hich is
hidden-the aurhor's messagc, which determines the degree of
anistr)' of a work and which providcs rhc communicarion of the

30

S I' R I '.: C,

I ')

').j

T

I)

&: T

"personal experience"-is expressed through the I"isual. The
transition from the represenrational lel'el to the level of meaning
occurs when the percipienr forms a cenain "hl"porhesis," revealing the conrenrs of the work. Here mechanisms of indirect indication, hinrs, symbols, associations, and so on present in the
represenrarional level are actil·ared.
The lel"els of a piece of art mal" be considered its "inner
dimensions." The audience deals II"ith all of the aforemenrioned
lel·els. But there mal' be mal1l' more of them, and the depth at
which they are hidden determines the anistic potency. The
"deeper" the piece of an, the more lel'els it should conrain. The
hinr of a new dimension gil'es rise ro fascination; bur this new
dimension, once "caught" should be formalized immediateh·.
Each new level in this mechanism is perceil'ed as containing
sense and rhe previous one that prol'ided the hint turns inro a
level of expressiveness.
As anI' work of an COI1l'el's a transference from one lel'el,
from one dimension, from one space inro another, it mal' be
considered as a "transformer of spaces (or dimensions, or levels)." From the poinr of viell' of psychology, the process of perception of anI' work of an is a conrinuous rise in the number of
dimensions. From the perspecrive of aesthetics, it is the penerration through the meaning of one lel'el ro a higher sense, contained on another "deeper" level. From the poinr of view of
information communication theory, each level or dimension
gives a substanrial rise ro the amounr of information being
transferred. In any case, going deeper inro the work of an is the
way up the stairway of abstraction, the further distancing from
the primary source of the information of the surface level of represenrarion. "On reaching the higher and more abstract levels,
human cognition envelopes the larger areas of reality .... In the
movement along this stairwav lies rhe source of creative thinking, that is the basis of the procedures, through which a man
may create new knowledge. In this form human inrellect finds
its highest expression."The new knowledge is being developed by the audience in
the space of the author's life experience. The viewer's inrerpretarion of the sign system on the level of expressiveness, existing
againsr the background of the represenrational image, creates
the set of all possible meanings. The process of perception is
realized through the specraror's panicular "trip" in this space.
\X/hile trving ro follow the path suggested bl' the aurhor, the
audience analyses its own "personal experience." This inner
"discussion" of possible ways ro continue in this space, and the
examination of the author's developmenr of the themes, creates
the dialogue berween the aurhor and the audience. As a result of
this co-creation which determines the success of the work, the
audience should finish rhe trip at the poinr inrended bv the
author. The anistic problem is how ro bring each audience
member ro that point without restricting his or her freedom of
inrerpretation, or depriving the work of subtletl'. It is this problem which determines the demands placed on the informatil'eness of the sign sl·stem.
The language of hints should be del'eloped Iyith the intenr of
keeping the audience's inrerpretations in the channel desired by
the aurhor, rather than allowing the audience ro form inrerpretations which hal'e norhing In common with the plot. The hints
should be concrete enough ro rel'eal the plor, but thel" should
nor be roo easih" read, roo direcr as ro depril'e the audience of
certain freedoms. The objectil'e rather is ro stimulate co-crearion, as opposed ro simple consumprion of the material, which
is the function of educational programs and text-books, for
example.
In traditional ans or means of communication, the poinrers
are placed on the represenrational basis of yisual images. In a



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1994

Contents
Theatre Design & Technology - Spring 1994 - 1
Theatre Design & Technology - Spring 1994 - 2
Theatre Design & Technology - Spring 1994 - 3
Theatre Design & Technology - Spring 1994 - Contents
Theatre Design & Technology - Spring 1994 - 5
Theatre Design & Technology - Spring 1994 - 6
Theatre Design & Technology - Spring 1994 - 7
Theatre Design & Technology - Spring 1994 - 8
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1979winter
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1978winter
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1978spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977winter
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976winter
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976summer
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975summer
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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