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 skoplowitz@gmail.com

 

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 skoplowitz@gmail.com with any questions or information.

The Crowd...Action and Mass Emotion

(1987)
The Crowd...was especially commissioned by DTW's FIRST LIGHT project through a grant from the Jerome Foundation, St. Paul, MN.

The Crowd...Action and Mass Emotion (22 minutes)

 

Directed and Choreographed by Stephan Koplowitz

Music Score and Live Percussion by Jack Freudenheim

Dramaturgy and Assistant Director: Jonathon Ward

Lighting Design by Roma Flowers

Set Design/Xerography: Stephan Koplowitz

Costumes by David Robinson

Performers: Josh Broder, Paul lazar, Molly Hickok, Jody Reiss, Terry Greiss, Nicole Potter, Carl Frano, Mindy Pfeffer, Kathleen Hill, Ann Hirsch, Barbara Boolukos, Amy Benesch, Paul Karasik and Charles Halden, Dance Theater Workshop, NYC, June 4-7, 1987

PRESS QUOTE:

“Koplowitz’s major new piece, The Crowd…Action and Mass Emotion, with a cast of 14, including members of the Irondale Ensemble Project, is a tightly designed piece in which the group-from which people depart to verbally express their specialness or haplessness-keeps reforming as a swaying clump, as a neatly raying circle of crawling bodies. The Crowd pressed forward with a wrought up intensity….”

                                        Burt Supree-Village Voice, June 23, 1987

Backstory Stories:

In the Spring of 1986, I was invited to be a part of the panel to select the next Fresh Track participants at Dance Theater Workshop. During our marathon session of seeing over 30 or so different works, a NYC theater company (Irondale Ensemble Project, still very active today under the executive direction of Terry Greiss and featured in this work)  auditioned a work choreographed by Anna B Parsons (who with her husband Paul Lazar, featured in this work), went on to great acclaim with their wonderful company Big Dance Theater, which also featured Molly Hickok, also part of this work, for many years). I LOVED the work and tried hard to get them accepted (to no avail). When David White (DTW's Executive Producer) offered me my first full season at DTW, I remembered the incredible energy of those performers and approached the company with an offer of engaging the entire company for a set number of weeks to take part in my creative process leading towards my first season in the spring of 1987. I supplemented their ensemble with two colleagues from the Packer Collegiate Institute where I was teaching dance: Kathleen Hill who taught dance with me (and was featured in the first incarnation of To My Anatomy) and Paul Karasik who was on the art faculty at Packer (and is a well known cartoonist). 

The live and recorded score, by composer/percussionist Jack Freudenheim, pre-saged our own collaboration by a few months in 1987 on Fenestrations in Grand Central Terminal (and other future projects).

The backdrop/set was my second large scale composite photo creation using xerography, the first was for my work

Untitled (Ethiopia Suite) in 1986.

GALLERY- photos by Tom Brazil