Technical notes on the camera obscura:


• The LENS of the camera was custom built: It is an achromatic Doublet lens with 6 inches diameter and 102 inches focal length (f/17). The lens is fully coated to reduce reflections.


• The CAMERA was built under strict specifications to meet both public access codes and the needs of the artistic project which require the camera to be portable (able to be re-installed in different sites), large enough to accommodate as many as 25 people at a time.


• Our eyes naturally see things upside down; it is our brain that processes the image "right side up".


• Revealed Portfolio 1.0 consists of 22 photographs


• Revealed portfolio photos are archival pigment ink prints and measure 24" X 24"


• Portfolio 1.0 was created with a Hasselblad H2 camera with a 22 MP Leaf back, June, 2006.


A special portfolio of high quality photographic prints have been created using this camera obscura and featuring images from the site-specific performance. For information on viewing and purchasing these prints, please contact Stephan Koplowitz at


For more information about REVEALED or any questions, please write to the same address. REVEALED is actively seeking producing partners and sites for future installations and performances. Please contact Stephan Koplowitz at with any questions or information.

These classes can be tailored for different academic departments (dance, theater, visual arts, architecture, etc.). One example is that a lecture on site-specific work could be given solely to architecture students.

Site-specific Choreography - A class that will teach different principles of making site-specific performance work on a large and more intimate scale.

History of Site-specific Choreography - A look at 20th Century Dance History through the lens of site-specificity.

Dance Composition (all levels) - A class that looks at core principles of movement invention, dance making, finding one’s voice.

Choreography Workshop - An upper level choreography class that looks at theme/concept and structure of making a dance work.

Technology and Performance/Choreography - A look at working with various technologies in terms of creation and performance.

Navigating Collaborative Relationships - A how-to course on how to work and communicate effectively when working with dancers, actors, singers, composers, designers, producers and funders.

Text and Dance - A look at the relationship of text to movement, how text can generate new movement (vice versa), an overview….

Improvisation as a Tool and Art Form - A class that looks at different improvisational structures and techniques including principles of William Forsythe’s Improvisational Technologies, Authentic Movement. The course would address improve as a choreographic tool, as a method to improve performance techniques and as form for formal performance.

Given Stephan Koplowitz’s training and experience in music, dance and media and his long career in arts education that spans K-12 through the BA-BFA- MFA levels, he is uniquely qualified to offer a wide range of lectures, workshops, master classes that span different age levels and artistic disciplines.



Site Specificity and the Director’s Eye - This workshop will approach the act of creating works of theater and performance through exercises using the conceptual lens of site-specificity. The intention is to spark new approaches in text creation, character development, movement and production design in terms of set and sound. How does the physical environment influence a work, how does it exist both as part of or separate from text? Working from specific sites nearby as a laboratory, participants will work on developing short performance works based on original or found texts.


Strategies For Devised Theater Works - A workshop on how to: (1) Devise text for performance, (2) devise movement and (3) how to find a balance between text and movement in works of dance/theater or theater movements works.


Developing Character - A movement workshop on strategies and techniques for actors and directors: How to develop a movement world and vocabulary for a specific character. An investigation of gesture, body leanguage (a look at gesture, body language) with and without text.


A creative workshop on capturing images related to site/environment. How to approach a site or specific environment to inspire new strategies for creating unique images.

A lecture, focusing on examples of Stephan Koplowitz’s interactive media/performance works and how performance and technology are interacting with the human form and in response to specific sites. A discussion on strategies towards melding technology, media and site.

A lecture/demonstration on the camera obscura and how it can and does relate to 21st century imaging technology.

A workshop/discussion on site art and its relation to the performance art, dance, music and theater.


Music Composition for Dance and Theater - A lecture/discussion or short course on composition techniques towards approaching writing for the dance concert or theatrical stage. A survey of the different relationships music and dance and theater can occupy. Strategies for collaborating with directors and choreographers and finding common language.

A Survey of Contemporary American Music and its relationship to the Performing Arts - A look at the history, both recent and past of American composers and their involvement in dance, theater and performance art. How has advances in all the fields impacted each other and what role did music play.


Collaboration - An in depth lecture/discussion on the process of collaboration and collaborating. How does one foster healthy and productive relationships when working with other artists and art forms? What are some “best practices” to keep in mind? What are the advantages and dangers of different types of collaborative relationships? This lecture can be tailored to many different populations, ages and backgrounds. It is also applicable to other industries.