Michael Counts

Quick Facts

Full Name	Michael Counts
Occupation	Opera Director
Date Of Birth	May 25, 1970(1970-05-25)
Age	54
Birthplace	New York
Country	United States
Horoscope	Taurus

Michael Counts Biography

Michael Counts is one of the most popular and richest Opera Director who was born on May 25, 1970 in New York, United States. 1839 (1999) is the year that photography was invented. It was originally conceived by Daguerre as a dream in which a child dressed up as Oedipus wanders through a landscape populated by narcissists who are in love with their photographs. The landscape was a dynamic collage of allusive, multi-layered imagery. Manet’s Olympia was another three-dimensional representation of artwork. It featured a large, classical still life and a Balthus cat. These were interwoven with imagined scenarios. The hermaphrodite was seen in many different disguises, including a sailor costume similar to those worn by Oedipus’ child statue. An armadillo puppet raised its hind legs and revealed a young naked woman. Multiple scenes featured an Oedipal couple of actors who read a mixture of Sophocles as well as invented texts. One point saw the Oedipus character shoot arrows at the entire backstage area, while the Jocasta character watched.

After completing his LMCC residency, Counts started to look for a permanent place for the company that could support the cinematic perspectives that were a constant part of his work. Joseph V. Melillo, Brooklyn Academy of Music executive producer, pointed him towards DUMBO in Brooklyn. David Walentas of Two Trees Management offered him the lease for a warehouse of 40,000 square feet and a shopfront gallery in return for the company’s steady flow of visitors to this once somewhat remote neighborhood. Counts, Stern, and Diebes were joined in creating four large-scale performance installation and numerous off-site events. The official opening of the space was marked by To SEA: Another Ocean, a performance piece for four performers and 500 umbrellas.

In 2000, Counts was invited to direct Gertrude Stein’s Listen to Me at the CalArts Center for New Performance in Valencia, California. The production featured three iterations of the same three characters: a man dressed alternately in a snowsuit and a schoolboy’s uniform; a woman also appearing in multiple incarnations including an opulent 18th century white wig topped by a silver model of a three-masted sailing ship; and an art museum guard. The stage design featured a series of sunken trenches created by rows of white cuboids that extended the width of the stage and rose to chest height, and a suspended walkway above. The choreography was by Ken Roht, who had previously worked with Reza Abdoh and became a frequent collaborator of Counts’ in the years following.

After GAle GAtes et al. closed in 2003, Counts embarked on a series of interactive works situated in the public realm. In Yellow Arrow (2004), Counts collaborated with Christopher Allen, Brian House, and Jesse Shapins to create “Massively Authored Public Art” that was a forerunner of the geospatial web in its creation of a “deep map” of the world. Volunteers who submitted online requests were sent coded stickers by mail and asked to write a message, place the stickers in a location of their choice, and submit a photograph of the site by SMS. In 2005 Counts and the Yellow Arrow Mobile App/Global Public Art Project created an immersive installation and exhibition for Piaget at Art Basel Miami, and in 2006 extended the scope of the project to an augmented reality game called ICUH8ING. An estimated 7,535 Yellow Arrow stickers were placed in 467 cities and 35 countries worldwide..

After creating The Making of a Mountain in 1995 for the Metropolitan Museum of Art, Counts designed and directed a series of performances and installation from 1996 to 1997 at multiple locations in Manhattan. He also participated in tours in Thailand and Japan. This led to a growing number of artistic collaborators.

Michael Counts Net Worth

Michael Counts is one of the richest Opera Director from United States. According to our analysis, Wikipedia, Forbes & Business Insider, Michael Counts 's net worth $5 Million. (Last Update: December 11, 2023)

Michael Counts, born May 25, 1970, is an American stage director and designer for theater, opera, and immersive performance events. He also creates and produces large-scale public art installations as well as digital platforms. According to The New York Times, he is a “mad genius” who has made a name for himself as an immersive theatre master and Variety says Counts has the “greatest ambitions” of any of the pioneers of immersive theater in New York City.

Counts was the son of Dr. Robert Milton Counts and Carolyn Counts Fox (nee Lawler). From 1988 to 1993, Counts studied Economics and Theatre at Skidmore College. He created The Life and Times of Lewis Carroll. This performance was both an abstract interpretation of Alice In Wonderland and poetically performed portrait of Lewis Carroll. Counts created the “Failure Series” at Skidmore College, an open forum for experimental performance ideas that he continued to develop after he graduated. He was assisted by Yehuda and Ian Belton. It featured a variety of performance, theatre, operatic, and scenic elements that were spread across several acres of Skidmore Campus. This was a precursor to his later work in immersive performance installations and theater.

Tilly Losch, produced later in 1998 and described by Counts as “a dream one might have had if falling asleep after watching Casablanca”, took its inspiration from the eponymous shadow box sculpture by Joseph Cornell. It was the first of two GAle GAtes et al. productions in which the audience was seated for the duration so that the 120 feet throw of the backstage area was visible through the false proscenium of an industrial passageway. The proscenium was initially masked by a backdrop as a series of vignettes played out in front – two soldiers playing chess, a row of seated cinemagoers rolling across the stage on casters to audio from the film Casablanca, a Butoh solo. The proscenium then opened up to reveal a series of shadow box-like scenes that receded further and further back into the space as the action progressed – a couple arguing in one window and a pensive man listening to Nina Simone in another in a recreated section of the Met Life Building Clock Tower facade and a recreation of Andrew Wyeth’s painting Christina’s World. Christina was portrayed as having lost the use of her legs and dragging herself into position to the sounds of birdcalls, crickets and gusts of wind. The sun set at the same pace it does in real time, and lights in the model house on the hill turned on one by one. The scene concluded after a model hot air balloon and an airplane appeared far off in the sky. In the climactic scene – a recreation of the titular Cornell work – the hot air balloon was shown in virtual close-up as a performer floated through a frame suspended on wires.

Height, Weight & Body Measurements

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The first work Counts created after 9/11 was Looking Forward, a video homage to New York City mounted in April–May 2002 in the clock faces of the DUMBO clocktower. A looped series of video portraits showed the faces of volunteers who had recorded messages describing “New York moments”. The audio of the voices of the New Yorkers who were interviewed, set to an original soundtrack, was simulcast by WFMU on May 3.

Facts & Trivia

Michael Ranked on the list of most popular Opera Director. Also ranked in the elit list of famous people born in United States. Michael Counts celebrates birthday on May 25 of every year.

The second act began with a speech by the anarchist labor organizer Emma Goldman envisioning a bleak future for the workers. The audience was then led across a bridge spanning a pool of white fluorescent lights as Dante stood silently by in 13th century costume, head bowed. The bridge led to a small space in which the audience huddled around a quartet of seated actors lit from below in ghoulish green light delivering a string of non-sequiturs about a Pomeranian.