Theatre Design & Technology - Fall 2014 - (Page 46)

The extant Kliegl collection of pose slides, while possibly unique in terms of the designs of the slides, incorporating such themes as the stage designs of the Moulin Rouge, circus activity, and abstract images, represents only a small range of this kind of material in both public and private collections worldwide. The Joel E Rubin Collection of pose slides is viewable online through the Ohio State University Knowledge Bank at http://kb.osu.edu/dspace/handle/1811/56638. Here you can also find original artwork comprising pages from a reference book which provided the required pattern for ordered slides. In addition to the online items which specifically refer to pose slides there are a number of other lantern slides to be found within the standing collection which are not pose slides, such as stage effects used in other theatrical productions, a few slide samples from competitors, and a large number of technical slides used as lecture material. There is also part of a rare Spiegel Motion Slide (c. 1912) which incorporates a lenticular system to give the illusion of moving lips and eyes, while a live singer at the side of the screen provided the vocals. Although the early 1950s is considered to be the demise of the pose slide entertainment, there are still several professional practitioners of dance-projection using original slide material and techniques. The dancers Jody Sperling in the United States and Vicki Lewis-Thumm (Visiona) in Germany are the chief exponents. Videos of the work of both artists are available on the Internet and can be found through Google searches. A much longer downloadable PDF also entitled Dressed in Light, exploring the ancient art of projection on people on an international scale can be found on the author's site: www.mervynheard.com archive measure three-and-half inches by four inches. This had been the industry standard for lantern slides in the United States and in mainland Europe from the middle of the nineteenth century, following the introduction of the photographic slide. In Britain the format had been and always remained three-andhalf inches square. Practicalities The impact of the pose slide effect upon the viewer needs to be seen to be appreciated. Back in 1996 I was involved in the making of a television arts program (The Peter Sellers Story, Arena, BBC2). It traced the life of the famous screen actor using mostly film footage which he'd shot himself. Sellers's mother Peg and father Bill had toured with a pose act when Peter was a boy. The actual slides they used were still in existence and owned by Sellers's cousins. I was asked to supply a suitable double lantern to re-create the effect at the Wimbledon Theatre in London as a brief sequence in the film. 46 theatre design & technology f a l l 2014 A large screen, measuring some twenty feet square, was hung just behind the proscenium arch. The performer dressed in a white leotard and stood on a box covered with white cotton material. This process of raising the figure slightly was to allow for the feet to be seen above the line of footlights, and all images are designed accordingly. The slides were chosen fairly randomly, though commencing with "Venus in the Half Shell" showing the artist's entire body, followed by a series of typical costume changes. The effect was a total surprise. When we look at a picture of any size which features a central figure our eye is drawn to the face of the subject. In this instance, when the face moves, our brain convinces us that the whole picture has movement. Unfortunately the television recording conveys little of the true effect, merely the mechanical process. Dick Ray, who worked on the performance in the '40s and '50s with his father (Sellers's uncle), discussed the act with me and was able to offer further insights. He said it ran for about seven minutes and involved twenty transformations. Musical accompaniment consisted of snatches of national airs and well-known popular classics. The transforming dissolving or dissolvant view process had been established and popularized in the 1820s. The most fashionable shows in London featured elements of the Grand Tour, such as an image of Vesuvius by day slowly transforming into the same aspect at night in eruption, with the addition of moving smoke. In the 1820s the light source was oil, which meant that the lanterns couldn't be stacked one above the other. Instead they were set side-by-side, with a contraption commonly known as angel's wings set between the lanterns. The wings pivoted on a central rod and could be angled in such a way as to reveal the image from one lantern or the other. A slow twist reversed the situation, producing a slow cross fade. The mechanism could also be adjusted to allow two images to appear at once to introduce a superimposition of, say, a rainbow, smoke, or a revolving waterwheel on the slide of a rustic mill. With the coming of the Drummond Light or limelight as a radiant and more controllable source of power, it was now possible to stack projectors one on top of the other. This led to the arrival of the kind of handsome Victorian mahogany and brass biunial (two-stage) and triunial (three-stage) machines. http://kb.osu.edu/dspace/handle/1811/56638 http://kb.osu.edu/dspace/handle/1811/56638 http://www.mervynheard.com

Theatre Design & Technology - Fall 2014

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2014

Contents
Theatre Design & Technology - Fall 2014 - BB1
Theatre Design & Technology - Fall 2014 - BB2
Theatre Design & Technology - Fall 2014 - Cover1
Theatre Design & Technology - Fall 2014 - Cover2
Theatre Design & Technology - Fall 2014 - 1
Theatre Design & Technology - Fall 2014 - 2
Theatre Design & Technology - Fall 2014 - Contents
Theatre Design & Technology - Fall 2014 - 4
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