Summary of Production |
Director: Michelle Huynh
Lighting: Harry Foster Scenic Designer: Nick Ponting Costume Designer: Euihung song Assistant Sound Designer: Ethan Eldred |
"A modern adaptation of a Japanese Noh theatre classic, Yukio Mishima’s Sotoba Komachi tells the story of a 99 year-old woman’s encounter with a poet who deems youth and romance as life’s most crucial desirabilities. When the old woman takes the poet on an amorous, picturesque journey of her past, the memories that unfold incite both tragedy and peace on the stage. In our intercultural production of Mishima’s re-telling, we explore the strained relationship amongst time, beauty, and death and the gendered traumas of the aging body and hopeful impossibilities." - UCSD Promotion Material
Selected Compositions
For this production, the music I composed was centered around the Taiko drum, shamisen, and Kabuki percussion. The director and I explored a mixture of traditional Japanese instrumentation filtered through the musical stylings of Kubrick films. Much of the score was written in the rehearsal process to add specificity to timing and mood.
The Circle's Beginning
Komachi, as She Slowly Tears Time Apart
A Waltz, 80 Years Ago
Production Moments
Photos by Harry Foster & Manny Rotenburg
System Design
Audio Reactive Lighting
For this piece, I collaborated with the lighting designer, Harry Foster, to send values over OSC to his lighting console. By doing this we were able to trigger lighting gestures at specific places in the music and raise and lower the lights depending on how loud cues or microphones were. This was accomplished through custom designed Max/MSP devices and utilizing Ableton Live as my audio playback engine. This made for an extremely collaborative and cohesive design process.
For this piece, I collaborated with the lighting designer, Harry Foster, to send values over OSC to his lighting console. By doing this we were able to trigger lighting gestures at specific places in the music and raise and lower the lights depending on how loud cues or microphones were. This was accomplished through custom designed Max/MSP devices and utilizing Ableton Live as my audio playback engine. This made for an extremely collaborative and cohesive design process.
System Design
This piece was in a thrust space, so I decided to utilize a center cluster approach. The system also included, delays, surrounds, front fills, and an upstage system hidden behind the scenery. This allowed for proper sonic imaging of the performer's microphones as well as multi-dimensional sound.
I decided to model various speaker ideas in MAPP XT before designing the system package. This allowed me to align unavoidable comb filtering in the aisle-ways where no audience seating was.
This piece was in a thrust space, so I decided to utilize a center cluster approach. The system also included, delays, surrounds, front fills, and an upstage system hidden behind the scenery. This allowed for proper sonic imaging of the performer's microphones as well as multi-dimensional sound.
I decided to model various speaker ideas in MAPP XT before designing the system package. This allowed me to align unavoidable comb filtering in the aisle-ways where no audience seating was.
Click for System Design Document ->
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