OK. I can’t watch this video. I tried. But I had to press stop after the first sentence.
All this time, I was happy with the memory of that feeling I had stepping off the stage. Relief. Thanks the gods, I pulled it off.
Now I know I messed up THE SECOND WORD. Pretty significant mistake. I don’t want to know how many more I made.
We’re not supposed to see ourselves like this — from the outside, from across the room? I get that same queasy feeling sometimes while driving down the highway at high speed — our bodies weren’t meant to go this fast.
I can’t watch it. But you can, if you want. I never did get around to posting the text of the story. Maybe I still will. Contrary to the point of the event, I think it reads better on the page.
-ag
I was so excited to finish this project and deliver the commissioned order, I didn’t get around to shooting an image of the results.
Here is a second and part of a third series I’ve made since then — pictured here drying after being sprayed with matte acrylic sealer.
six tiles
In the end, I went with the acrylic gel transfer process because the textured vanilla tiles I preferred the look and feel off were not waterslide decal friendly.
I had, in fact, almost given up on the decal paper, when I got a hold of a couple of white smooth tiles from my sister. These were much easier to slide the decals on to without losing or marring too much of the ink from the paper in the process.
Seen here are a slice of The historic Masonic Temple, designed by Raymond Hood and a colorful wash of Scranton's landmark Electric City sign.
While I used actual cork to back the commissioned tiles, I was fortunate to also inherit an amazing bolt of cork upholstery fabric from my sister that makes for a softer, more appealing, yet just as effective backing. (I forget to take a picture of the reverse, I’ll try to remember to update later.)
I’m hoping to make these available for sale at my Etsy shop soon — both individually and as sets, made to order — as the commission fee barely covered the cost of my supplies and it would be nice to make at least a little profit off all the time and labor that went into the research and development of this project. Hopefully, there will be an interest. I personally think they’re pretty awesome.
I studied an early, cardstock-bound copy of this book while working on my NeoVaudeville grant presentation back in 2009. It’s a little fact-heavy but boasts a few memorable anectdotes and is a worth $13 for those interested in vaudeville and theatrical history –especially if they’re from Scranton.
I’m personally curious to read the last chapter — as one of the few journalists covering theater in Scranton for the past decade (as well as consistantly working on the production end in my freelance life). and I’ve never met or spoken with the author as far as I can remember but according to her bio she has participated in local cemetery theater productions.
-ag
“If You Can Play Scranton is a theatrical history of America as seen through the famous performers who came to Scranton, Pennsylvania. It discusses performances by the best known actors and actresses of the tragic and comic stage, ethnic performers, vaudevillians, musical comedy, concert, orchestra and band performers from 1871-2010. At the turn of the 20th century, Scranton was one of the most famous try-out towns for legitimate stage productions. The sophisticated taste of its audience, created by extensive exposure to world renown talent, continues to this day.”
Managed to get the paper peeled from the acrylic gel medium and adhere these first test images to a couple of three-inch wooden squares before leaving for work this morning.
Pretty psyched about the results. The commissioned works will use four-inch ceramic tiles in a vanilla hue and probably be a touch less grungy looking than these. I do like that you can see the wood grain as part of the resulting image here, though.
Looking forward to comparing the water slide decal method with this process.
Playwright Sarah Ruhl reads excerpts from “75 Essays I Don’t Have the Time to Write” in the Pearn Auditorium at the University of Scranton on Friday, October 21, 2011.
Nice to know we’re not alone here in The Electric City a.k.a Scranton, Pa.
Apparently Houston is likewise sans burlesque as explored in this article published yesterday, largely in response to the release of the major motion picture.
I found Lady Grace Academy headmistress Rebecca Hadley’s own personal empowerment story especially intriguing. She explains:
“I know for me, personally, performing and teaching burlesque was a revelation. About seven or eight years ago, I was agoraphobic – I didn’t drive for two years and rarely left my house. So the fact that I am now able to dance in pasties in front of an audience of 300-plus people borders on miraculous. Even better, is that I’m able to stand in front of a room full of women and teach them to love their bodies – no matter what shape, size or age they are. While I love performing, teaching is the ultimate high. And I never would have had the courage to do it, if I hadn’t discovered burlesque. So, long answer short – yes, burlesque is empowering.”
This is the blog of Kal Spelletich. CONTACT: Spellkal (at) gmail.com + Art, technology, humans and robots, and, well, the journey http://www.kaltek.org/