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PROJECT / DIAGHILEV AND THE GOLDEN AGE OF THE BALLETS RUSSES, V&A, LONDON, UK
DALD chose to use a limited palette for the exhibit lighting including AR111 based track fixtures fitted with a combination of spreader and diffuser lenses with internal dimming and energy saving lamps
the wedding scene in the 1913 production of The Firebird. The cloth is the largest single object in the V&A’s collection, measuring 10 x 16 metres. DALD illuminated it (to strict conservation levels) from asymmetric flood fixtures and wash lights positioned one metre out from the top of the cloth. The lighting to the Backcloth was sequenced to fade up and down in conjunction with large scale digital video projections of dancers within the space.
On the reverse side of the Firebird Cloth is Le Train Bleu front cloth, designed by Pablo Picasso in 1922 and painted by scene painter, Alexandre Shervashidze. Apparent- ly, Picasso was so pleased with the results that he signed the cloth, dedicating it to Di- aghilev. The cloth has been called ‘the larg- est Picasso in the world.’ The same lighting technique as used on the Firebird cloth was applied. Displayed on the adjacent wall are Picasso costume illustrations. These are part illuminated by three suspended period acting lights. Two recreations of the cubist ‘Mangers’ costumes are lit in intense colour to highlight their enormous scale. The last Gallery contains light sensitive materials such as works on paper, that were illuminated by fibre optics or carefully con- trolled incandescent light sources. A number of different lighting techniques were used including colour, shuttering and intensity. The final objects on display are garments by Yves Saint Laurent inspired by the Ballets Russes that are tightly lit from acute angles. Strong colours and carefully controlled lighting give perspective depth to the space. Rebecca Lim, V&A’s Head of South Kensing- ton Exhibitions, said: “The lighting design played a critical part in creating drama in the exhibition and highlighting the incred- ible objects on display.”
www.dald.co.uk
sischen Balletts’ im V&A, London, beendet. Die Ausstellungsdesigner Tim Hatley & Drinkall Dean haben DALD Anweisungen gegeben, dass die Beleuchtung einen einfühlsamen und dabei glei- chzeitig dynamischen Ansatz für die Ausstellung zu schaffen hat. Beim Betreten der ersten Galerie wird ein dramatisches Gefühl durch eine breitwinkelige Einführungswand geschaffen, die durch versenkte fluoreszierende Leuchten beleuchtet wird. Dieser starke Farbton wird in den Eingangskorridor reflekti- ert und zieht so die Besucher an. Um die Idee von Kostümen in Bewegung herauf- zubeschwören, stellt der ‘First Season’ Abschnitt einen motorisierten kreisförmigen Sockel in den Vordergrund mit einem drehenden Display von Kostümen, das durch Spiegel unterstützt wird. Um die Wirkung der Animation zu steigern, hat DALD eine Spirale mit entgegengesetzter Drehrichtung installiert, die Andeutungen von Licht durch die Kostüme wirft. Sorgfältig kontrollierte blaue Lichter
erstrahlen durch den Sockel, um Tiefe zu verleihen und Lampen mit abgedunkelten Perioden sind auf dem Sockel für einen theatralischen Effekt platziert.
ITALIANO
La David Atkinson Lighting Design (DALD) ha re- centemente completato il progetto di illuminazione per la mostra “Diaghilev and the Golden Age of the Ballets Russes” al V&A, Londra. I creatori della mostra Tim Hatley e Drinkall Dean hanno chiesto alla DALD che le luci dessero alla mostra un ap- proccio teatrale delicato ma allo stesso tempo din- amico. Entrando nella prima galleria viene creato un senso di drammatico con una parete introduttiva a grandangolo illuminata in rosso da fluorescenti ad incasso. Questa forte sfumatura di colore è riflessa nel corridoio d’entrata, attirando i visitatori. Per rendere l’idea di costumi in movimento, la sezione della “Prima Stagione” presenta un piedis-
tallo circolare motorizzato con un display rotante di costumi chiuso da grandi specchi. Per accrescere l’effetto di animazione la DALD ha installato una spirale controrotante a proiezione che getta lampi di luce attraverso i costumi. Scie di luce blu sapi- entemente controllate vengono mostrate attraverso il piedistallo per aggiungere profondità e impianti di luce che si abbassano sono posizionati sul piedis- tallo per un effetto teatrale.
ESPAÑOL
David Atkinson Diseño de Iluminación (DALD) completó recientemente el diseño de iluminación para la exhibición ‘Diaghilev and the Golden Age of the Ballets Russes’ ( �Diaghilev y la Era de Oro del Ballet Ruso �) en el V&A de Londres. Los diseña- dores de la exhibición, Tim Hatley y Drinkall Dean, le informaron a DALD que la iluminación tenía por objetivo crear un enfoque teatral sensible pero
dinámico a la exhibición. Al ingresar a la primera galería, se genera una sensación de drama teatral con una gran pared introductoria angulada que está iluminada de rojo en la parte superior por medio de fluorescentes escondidos. Este tono de color fuerte se refleja en el pasillo de entrada invitando a los visitantes. Para evocar la idea de trajes en movimiento, la sec- ción la “Primera Estación” ofrece un plinto circular motorizado con una muestra giratoria de trajes en cuyo fondo hay grandes espejos. Para realzar el efecto de la animación, DALD instaló un espiral proyectado giratorio que arroja luz indirecta a través de los trajes. Estelas de luz azul cuidadosamente controladas brillan a través del plinto para agregar profundidad. Asimismo, dispuestos en el plinto, hay artefactos de luces tenues para lograr el efecto teatral.
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