BWW Interviews: Sven Ortel, Master Projection Designer

If you've been noticing more projections at the theatre, you're very observant! Are they just glorified PowerPoint slides? Not at all. Sven Ortel, the projection designer for Julie Taymor's A Midsummer Night's Dream, Newsies and other shows both in the U.S. and in the U.K. explains how technology is becoming an integrated part of set design in theatre. Ortel recently designed the projection for the Long Wharf Theatre's production of William Mastronsimone's Ride the Tiger. In addition to theatre projection, he applies his vast experience in system and imagery design for unusual spaces and onto unconventional materials and surfaces.

First of all, how did you get started in projection?

I studied lighting design in the United Kingdom. It allowed me to study other [aspects] of design. There were a lot of shows in London that had projection - both good and bad. I wrote a dissertation in college on the use of projection technology in theatre design: how it's used and who uses it. At the same time I started myself to work with projection technology in theatre. I met Dick Straker, who was consulting the NT on projection technology. So when a director wanted to use projection, we facilitated that need in whichever way required. There were no established ways of doing these things 12 or 13 years ago, so we kind of made it up, based on what each of us knew. The team expanded and we ended up with a little video department - the first in any theatre as far as I know.

I ended up facilitating other people's work. Then I developed my own work. I got hired by The National Theatre a year later as a designer. They and the theatre company complicité gave me a big break.

Is there a trend to having more projections in theatre? If so, why?

There is a lot more of it. Part of it has to do with today, a reflection on the culture. We're surrounded by a lot of displays and screens and such. People are being constantly exposed to visual displays of all kinds. Technology finds its way into new plays and also into the ways of how people want to communicate on stage. And the technology has become more affordable.

Older techniques were used to project scenery since the late 1950s and in the early 1960s it found its way to Broadway theatre. Back then it replaced the painted drop in some cases. Since then the technology has become more powerful and a lot more sophisticated...and results can be achieved more quickly. It's a mixture of popular culture finding its way into theatre and of technology having become cheaper, more sophisticated and more pliable. Most of the technology we use now was originally developed for corporate events, and not designed to be used in theatre. In the theatre it has to tightly integrated with light, sound, scenery and costumes and the manufactures have responded to that. In the past the digital projection technology employed in the theatre has struggled to be as responsive and pliable as, say sound. That has changed in past five years. You can make changes very quickly now.

From start to finish, who is involved in decision-making process?

A lot of the time, the director and set designer come up with a vision for the show. They want to explore projection in some way. How and why differs from show to show. It could be the lighting designer who suggests to employ projections. At some point, usually someone says 'you know you really need someone who can tell you if this can be done.' If they talk to me at this stage I function more like a consultant. Then if you are the right person, you can get hired, because projections are possible. From then on, it's pretty much collaboration. What you can do with this technology has few limits, but it's also complicated. I show them what I can do...ideally I achieve a unified language for the show. Not many other people are involved [except the] lighting designer until you get into the theatre... Creatively, of course the director has the last say.

How much time are you given to do it?

That differs on the project as well because it's such a new discipline. The level of knowledge and understanding of what it takes to make it work varies. [Usually it's] about two months. I have been given a lot less, depending on imagery and what has to be made. But because I make the imagery for each show I design and it's not just something you can download from the Internet, it does take time.

How do you choose your material?

It comes out of the conversations with the set designer and director because together essentially we decide what visual language to use and how to use it. It has a big impact on the show. I show them techniques and styles. I send them storyboards and they respond. Eventually we settle on a style. I apply that style on all the imagery I make for that show. Depending on that style and the purpose of the projections - for example scenic or whether it takes care of transitions. At the Long Wharf Theatre it was static during the scenes but really animated during the transitions. [Sometimes there is] rain or snow or special effect like a ghost. Then I need to make that based on the language decided on for the show - stop motion, animation, film edited or painted and animated or made entirely on the computer.

What are the copyright issues of using old newspapers and photos?

You can't really save money unless you are willing to take risks with copyright. If I infringe copyright I can get sued and everyone else can get sued as well. The copyright laws in this country and many countries are very clear. I need to know where the imagery is coming from. I either have to receive copyright clearances or use material that is copyright free or that can be considered fair use. As a vendor you can only release on license what you legally already own.

What was the most challenging projection project you've ever worked on?

Probably The 'Kirov' Ring Cycle in 2009 because of the amount of time that was available. I spent three weeks in my studio preprogramming the entire Ring Cycle based on exiting recordings, then I had 10 days In Russia, which had a language barrier, and 5 days of technical rehearsal time. It took 22 hours, five days in a row. It did work out in the end of course. [With] Moses: The 10 Commandments in Switzerland. Similar issue. Incredibly ambitious, but very little time and my resources were limited. Basically by doing it, I could prove how difficult it is, but it's possible that nobody really cares once you agree to design the show. It makes little sense to talk about it in my experience. To me theater is mostly about collaborating with other people, so I may agree to work on a challenging project just to work with new people or continue my collaboration with an existing team. [Some] think I deliver a DVD and there is the design. Not in my experience! I'm sure In five to 10 years' time, it will be a lot easier to do the things we struggle with today because the technology will be better understood by people. On the other hand I am also convinced that the expectations towards what can be achieved with projection will continue grow as everybody learns and pushes the technology further.

How do you get your work? Do people approach you or do you have to find producers and bid for the project?

People look for someone. They ask around or they know you. Then either my representative or I personally get an inquiry. I do go to events and I talk to a lot of people, but I don't actively seek work. It's a personality [thing]. I don't try to sell myself. I'm very passionate about what I do so I talk about what I do, this work as opposed to my work. When people feel a need a projection designer, they contact me .

What's your next theatre project?

Right now I'm working on two things: the inaugural production of Theatre for a New Audience new theatre (next to Brooklyn Academy Of Music - Julie Taymor's A Midsummer Night's Dream. It's very interesting [with] visual and storytelling elements. And a piece with Tectonic Theatre about autism. I have unconfirmed commercial projects for the fall.

What advice do you have for others who are interested in projection?

The best way to find out about it is to talk to people who do it. Try Internships, if possible with different people [to learn] a different take. I have a new website, www.projctn.com which is aiming to be a resource for people that are interested in projection design. It's going live at the end of the month. There is a lack of resources for people who are interested in this kind of work and I'm trying to remedy that a little bit.

Projection designers have been part of the United Scenic Artists Local USA 829 since 2009. It's still an emerging profession and category within the union. We're working on making it clearer and better understood what projection designers do and why it's a profession.