in step with light
Muhlberger, based in Horst, decided to work on light design because it involved human communication.
\"I am looking for something that is more in line with my interests and everything we do in life,\" Horst said . \" Horst has a stage through his hobby of acrobatics.
Horst is part of the Attakalari Biennale 2013 and is one of the instructors of FACETS choreographed residency.
\"I decided to go a little deeper in this stage art, and I was immediately attracted to the dance because it involved the body and was an open form of communication, not understood by language, but understanding at an emotional level.
This is an art form that requires the audience and dancers to appear in the same space.
\"Although Horst has no artistic background in stage lighting, he picked up the craft through experience and self-experience
The learning process involves breaking down a typical stage lighting device. up.
This is what he did before his first project as a lighting designer, and this is based on the dance work of Jules Verne\'s Earth center trip.
\"When I first lit it was based on the fact that I had no problems technically.
But then I had to go into the theater and ask myself why there were so many different kinds of lights and fixtures.
I have to take each light off, plug it in, find out each light and its quality, and write down the possibilities.
\"Dance lighting is different from theater lighting because the background is different.
Since no collection is usually involved (
At least in contemporary dance)
, Then create the settings.
\"In many dance works, the set is scaled down, with curtains to neutralize the set, and then dancers on the stage.
Lighting can choose to transform and adjust in space to create a certain atmosphere and quality, so that the audience has an emotional idea of how to view sports, what is their purpose and how to explain what is happening.
In the theater, the lights illuminate the setting and the speakers.
\"Due to digital interaction, from the perspective of video projection, it has now been incorporated into contemporary dance performances, and the remaining set elements must create space or work around this.
\"I \'ve never had a problem integrating lighting and video because I didn\'t start with the technical aspect of lighting, but from the artistic aspect of the work.
So when there is a projection, I know that before I start thinking about lighting, from this point of view, it involves some technical aspects, horst explains, he sees this as an effective starting point for lighting designers working on projects.
\"It\'s simple to put the lights in a position where you don\'t hit the screen, which is a mathematical aspect.
But sometimes these videos have certain colorful forms of animation, in which case a lot of work is being done to match the colors of the videos, lights, and costumes.
Video mapping also needs to do a lot of work and several tests before switching, as it is more fragile than screen projection.
Therefore, Horst said that all collaborators, including designers, choreographers and other media artists, must understand what the other party is doing.
\"It makes sense for technicians to know what dancers and actors are doing on stage.
It\'s also important that dance choreographers and dancers have an idea of lighting settings --
And how to show it on stage, because a lot of work has to be done before the work is lit, the clues written, and the images programmed.