Maximum impact minimum means

I cam across this quote in the book I was reading about Music in Japan, in reference to the 'aesthetic principle of the Japanese no Theatre'. I love it.

Partly because it feels very Japanese. I like the idea of saying as much as possible, with as little as possible. In colour, shape, tone, story, character etc.

I have been exploring this idea in my teaching work. That if in a painting you were to use a limited colour palette, there are ways of applying this principle to animation too. In terms of colours, shape, textures. Character and style of character, or styles of drawing.

And also in the animation palette, in how that exists. A limited number of movements and movement styles that are used repeatedly to build the work and tell the story. The reference clip that I refer to with this is the Thomas Beale Cipher, by Andrew S Allen. There are parts of the story that seem to be created using one expression, or set of keyframes, where the motion moves and loops, without very much happening with the characters. It is a great way of building motion along the timeline. And stylistically it serves to link all the scenes together and create a strong style of motion for the work.


The Thomas Beale Cipher from Andrew S Allen on Vimeo.

Brecht uses this approach too. Particularly in the set design. I have been reading, or have just started reading Mother Courage and Her Children. In part as a way of exploring character. And because of the anti-war themes in the play. I am going to write and post more about this as I read through it.

In his notes on the set design he talks about a few trees representing a forest, pulling back on objects and, or to, include more of the imagination and a response from the audience I suppose.

The quote applies to the trailer posted below too. About the colours. The impact, the use of audio. The storytelling. This is one of the strongest pieces of work I have seen in a long time. The power of it is in the visual language and storytelling. What is absent as well as present. And the simplicity of it.

Notes on a project structure 3

Powerplant at the RNCM

Set breakdown

Last week I went to see a show by Powerplant at the RNCM, an experimental percussion, audio visual mix including work by Steve Reich, Old Mexican music and an absolutely incredible aluminium harp.

The first half included, from memory, six shorter pieces, that varied in intensity. With the Steve Reich piece being the most intense and difficult to listen to. The set came back down again before the interval before with something more human, gentle, accessible.

After the interval were two longer pieces. First the harp, which was beautiful, soaring, light. And then a percussion, sort of glockenspiel piece. I will find out the correct name for this instrument. There were some interesting parts where it was being played with a violin, or viola bow. This piece was more level, compelling, and not quite so uplifting or soaring as the harp.

 

I  liked the structure of the performance and it reminded me of some of the ideas I have and use for planning my production workshops. Where and how to include breaks and intervals, where to have the fast bits, the most intense and dynamic sections. Where to include breaks and pauses, creative rest and so on.

I like the idea of developing this into, and including a structure for the film. Using periods of intensity that cause something almost like discomfort, followed by beauty, gentleness, lightness, where to relax, and allow the audience to relax. Where to add weight and gravity and drama. A pitch or intensity for the work and where this might happen within the project overall, as well as in the final film or films. Where and how the resolution might form, and where there is space for the unresolved. And how to include experimentation, play and something that is perhaps more creatively challenging in the piece.

Diagram below.