2ALIFORNIA S'TA'TE UNIVERSI'l'Y, NORTHRIDGE
DARK ILLUNINATIONS
\\
An abstract submitted ln partial satisfaction of
the Lequirements for the degree of Haster of Arts in
Special
~1aj0r
by
Virgi'nia June Powers Ball
June 1978
California State University, Northridge
ii
DEDIC.A.TED
to
Mr. ,and Mrs. J. B. Powers
Mr. S.E. Ball, Allison and Christopher
Special thanks to
Mr. Theodore R. Peterson
composer
iii
TABLE OF CONTENTS
Section
Abstract
1
Illus·trat.ions
Processional
Evocation
Evocation
Meditation
Illumination
Illumination
Celebrat.ion
Celebration
5
6
7
8
9
10
11
12
Bibliography
13
iv
ABSTRliCT
DARK · ILLUHINATIONS
by
Virginia June Powers Ball
Master of Arts in Special Major
Can several art disciplines, and available
technol-ogy be effectively integrated into a theatrical
work of art?
is
Cl.
Susanne Langer states that, "A work of art
single indivisable symhol."
1
Assuming the validity
of tnis statement, the ans\ver is yes.
Recognizing limitations; the number of disciplines
wnich
could be effectively combined, time, available
technolog:y, and money; I endeavored to create a work of
art.
This work involved drama, dance, sculpture, music,
projections and light.
In this work a virtual history
2
iJ'lVolving a. virtual person's gradual realizations of self
. 1 s~~s~nne
Langer, Feeling and Form,
Sqri. bner's Sons, 1953), p. 36.9.
2 Ibid., p. 307 .
K.
1
(New York,
2
and his integral part in the universe, provided unity.
From this concept the various disciplines were developed.
I created three pieces of .sculpture to be used as
the set.
A transitional piece was designed to be moved by
the dancers.
It was constructed of red steel tubing and
aluminum screen.
Screen was chosen for its ambiguous
quality of opacity and translucence.
The second piece
provided an enclosure, onto and out of which the dancers
could be drawn.
It consisted of a yellmv and grey mass of
steel tubing and nylon fabric embodying softness and
flexibility within a rigid frame work. The third piece, of
blue steel tubing and darkened aluminum foil, floated above the stage, turning with; the air currents, symbolizing
11
realization. 113
Using Bmm film; Theodore Peterson and I experimented
with projections.
These experiments involved lig4t
reflections, laser images and images of dancers.
Projec·tion quality of the 8mm film was inadequate.
By the
time 16mm equipment was found, successful utilization of
the product was not possible.
still projections.
We then relied solely on
Focused in space, these projections
were apparent only when the ·dancers moved through them.
The projections were not completely successful.
More time
and money was needed to bring this element to fruition.
3 see illustrations begining p. 5.
3.
Dance is dependent on gesture as its basic means of
expression.
4
I choreographed the complete dance without
music; relying on gesture to convey the concept.
dance was being choreographed Mr. Peterson was
the music.
provided.
As the
composi~g
He followed a conceptual outline which I
Then we combined the music and dance. Portions
of the music and dance then underwent slight modificationsmostly in style and dynamics - to achieve greater unity.
Further documentation of the music can be found in
Mr. Peterson's abstract, Dark Illuminations. 5
According to Adolphe Appia, movement is the unifying
element of the various art forms.
6
Obviously dance involves
both real and virtual movement in its creation.
It was the
dance that gave totality to the virtual enviro-nment that I
had intended to create.
Under my guidance, Mr. Peterson created the
lighting design.
"Color ... is ambient, pervading the·
atmosphere, and - like the light - taking part in movement;
it bears a direct relation to the human body . • . . living
and light and living color will be able to approximate the
4
Theordore R. Peterson, Dark Illuminations,
(Northridge, California, California State University,
Northridge, 1978).
c;
~Susanne
K. Langer, Feeling and Form, p. 174.
6Adolphe Appia, The Living Work of Art, trans.
H.D. Albright; and Man is the·Measure of All Things, trans.
and ed. Barnard Hewitt (Coral Gables, Florida, University
of Miami Press, 1960}, p. 8.
4
'signifycation' by making their expression concrete
through the form or the movement of a shadow, the color
of the direction of light."
7
Finally all the segments were brought together.
The performance, titled
Dark Illuminations, was
presented January 27, 28, 29, 1978, in the Campus
Theatre, California State University Northridge.
I would recommend six months preparation, beyond
the year I spent, for a project of this magnitude. Funding
also was a problem as was finding technical assistance.
However, when people with the technical knowledge were
located, they were more than willing to share their known
knowledge.
I failed t.o develop projections completely.
It would also have been advisable to invite the audience
to inspect th€ sculpture, perhaps by displaying a large
model, after the performance.
I did effectively demonstrate that 3everal art
disciplines and technoloqy can be integrated to create a
theatrical work of art:.
7
rbid., p. 36-37.
I
5
PROCESSIONAL
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6
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BIBLIOGRAPHY
Ancerson, Donald M. Eh:rnents o f Design. Holt, Rinehart and
Wins ·ton, 19 61-:-Appia, Aldolphe. The Living Work o f Art. Translated by
B.D. Albright:"i-ari7f·M"a~nTs-·tiie Measure of All
Things. Transl ated c..nd edited Tiy Barnard Hewitt.
Coral Gables, Florida: University of Miami Press,
1960 .
. • Music and the Art of Theatre. Translated by
--------Robert W. Corrigan a nd Mary Dougla s Dirks.
Foreward by Lee Simpson.
Edit~d by Barnard H~witt.
Coral Gables, Florida: University of Miami Press,
1962.
Benthall, Jona than. Science and Te r·'l nology in Art Today.
New York: Praeger- Fublisher:~~-;197 2 ~
Giedion, S. Space, Time and Architecture. 5th ed.
Cambridge , Massachusetts: Harvard University Press,
1967.
Horst, Louis and Russell, Carroll. Modern Dance Forms in
Relation to the Other Hodern Arts-.----san -F'ra-nclst.=:o:Impulse Publicat.ion s ~19 .6T; reprint ed . , Brooklyn:
Dance Horizons, Inc o r p orated, 1973.
Kandinsky, Wassily, Concerning the Spirit ual in .Art. 2nd
ed. Translated by Francis Golff in-g, Michael
Harrison and Ferdina nd Ostertag. New York: George
Wittenborn, Inc., 1974.
Kelly, James J.
The Sculptural Idea. Minneapolis: Burgess
Publishing co--:-;-19-7 4.
Kepes, Gyorgy ed. The Nature and Art of Motion. New York:
George Braziller, · 1965:_ _______
• Language of Vision . New Yo r k: Paul The obald and
1969.
-----co. -,
Langer, Susanne K. Philosop0y__In a New K_§;y. 3rd ed.
Cambridge, Massachusetts: Harvard University Press,
1974.
14
Moho ly-Nagy, Laszlo. Pai-n t.J:.!2SLL._~]:lo~o ~-~-0.YL}~ i~!~ .
Translated by Jan e t Seligman. Cambri d ge, Mo ssachu setts:
The MIT Press, 1967.
Peterson, Theodore R. Dark Illuminations. No rthridge,
California:
californTastate uni"ve:r si ty,
Northridge, 1978.
Youngblood, G~ne.
Expanded ·Cinema. New York: E.P. Dutton
_and Co., Inc., 19-70:"____
Los Angeles Art and Technology Program. Art and 'rechnology.
Los Angeles: Los Angeles County, CalJ.fornia·---- - --Museum of Art, 1971.