I am often asked what it is I actually do, and to be completly honest I never really know the best way of describing my work. Within my work I fuse together a wide range of techniques and past experiences to deliver the highest possible result.
As a QVC Set Dresser it is my responsibility to ensure that all shows during my eleven hour shift are set to the highest standard and in keeping with QVC’s style, prior to going to air. Setting a show requires me to liase with a range of people from the studio floor staff, to the guests going to air. The objective of which is to create an environment that is aesthetically correct and to compliment the product/brand due to be sold. Excellent time management and forward planning is crucial to this role, without which the installation of furnishings, dressing and product placement could not take place. As well as setting the live shows, occasionally I will be required to go out on location promotion shoots, both as a Set Dresser and Set Stylist.
• Confessions - officially selected and shown at FESTIVAL DE CANNES 2014, Production Designer. • Small Fish Big Cheese - Unicorn Theatre London- Workshop Facilitator & Set Designer. • Hebden Shorts (Hebden Bridge Arts Festival) -Technical Manager & Designer • Blue Inc Fashion Shoot - Props Buyer & Stylist • Salisbury International Arts Festival -Technical Crew Member • Nor Any Drop - TIE Touring Performance(s) by Peshkar Production & Red Ladder Theatre Company - Set Designer • Treasure Island - Lancaster Duke Theatre - Assistant Scenic Artist • Women Scorned - Dirty Laundry Productions - Touring Performance - Scenographer, Workshop Facilitator & Set Designer/Builder.
Abstract This thesis explores the application of what is best described as a kinetic projection screen and its use within a performance environment. It examines the kinetic screen’s application within performances over centuries of development, from the use of the Watchman’s Lamp (Heard, 2006), a device used to create shadows, to the modern day. How can this form of projection viewing be created and delivered within a performance? Is there initial evidence to indicate an alteration to the way in which an audience views the content on a kinetic screen, such as physical engagement, opposed to a static screen? This thesis analyses theatrical theories and interviews with Arts practitioners and companies, who already have, or currently are applying kinetic projection viewing within their work. Research within this thesis has been collected through practical examination, illustrating the development, construction and demonstration of a number of kinetic projection screens.
During my time undertaking the BA (Hons) in Technical Theatre, a wide spectrum of areas were covered, both practically and theoretically. This included Light Design & Operating, Sound Design & Operating, Set Design & Construction, and more.