One thing leading to another
Interview with Giacinto Caponio, video designer, working in close relation with Fabrice Murgia for several years. Accomplice, and unbiased.
Can you talk about your personal journey?
I started working in the medical field. And, by chance, on the net, I discovered that I could work as a technician for performing arts. I looked for schools and I found la Fabrique de theatre, in la Bouverie, that offers evening classes of stage management, and, you also learn about production, scenography, administration. As a DJ, I had a basic understanding of sound and lights. This knowledge have helped me to progress quicker than the other students during the first year, and six months after the beginning of my studies, I got my first contract for Othello le passeur in Mons, with Franco Dragone. I should have made a replacement for 2 days but I stayed for all the creation and the tour. One thing leading to another, I started to have contacts in Mons and in Brussels…
Were you already a video technician?
At the beginning, I mostly worked as a sound technician, and a bit for the stage and the lights, not at all for the video. When the Théâtre National offered me a contract as a light technician, I suggest to do ¾ time lights and ¼ time video because I wanted to develop this aspect. To finish, I did ¼ time lights and ¾ time video. I’ve learnt on the job. The first creation was Life reset by Fabrice, I collaborated on the video with Arié Van Egmond.
What did you like in the video work?
What I really liked was the new way to use video: we don’t simply screen a set behind a comedian, we don’t use video as a figurative element. For the show Exils (by Fabrice Murgia), I brought a new aspect : video as a lighting source. I learnt on the job how to use this source and how to work in harmony with the lights. We also use the live video, we try to delfect it by not just filming someone on stage, but looking for a detail or transforming the video into a texture or a scenography.
How was the creation, with this new aspect for you: circus?
We had to tame the people on stage, and to check with them, even with the lights, what we could use or not, how we would be able to film them, with an onboard camera. On the first sessions, we discovered the acrobats, the rhythm of work and their way of working.
Can you explain your own method?
I work a bit like Fabrice does, I need to see things on stage. Listening to the text or the music, ok, but as long as things are not in place, I can’t work deeply on the video creation. This is due to Fabrice’s work, he has images in mind, he wants his theatrical visions on stage. In his approach, everything is on the same level, lights, circus, scenography, etc. Everyone is on an equal footing.
© Photo Hubert Amiel
This post is also available in: French