Friday, 13 March 2015
Set Construction + Model
Thursday, 5 March 2015
Duties of a Set Designer
After coming up with my concept, I wanted to have a wider understanding of Theatre Set design as a whole. In order to understand the practical duties of a Theatre Set designer, I decided to conduct some research. Here is a video of Ricardo Hernandez talking about his own experience as a scenic designer - he details about set construction, model making, and most interestingly his collaboration between the directors throughout the production process.
As someone who had experience within the field of writing and directing, it's been extremely eye opening to understand from a scenes, design angle how the process is formed.
Staging and setting
When considering a set design, it is also vital to consider the staging and setting. Staging is how the set will be positioned, and how the audience will view it. The setting is the overall use of time and location and how that is going to be portrayed. Both staging and setting can be executed as abstract, and take a stylistic choice. I will be researching the different types of staging, then explaining how they fit within my concept for Electra.
End on/Proscenium arch
A proscenium arch stage consists of four main compontents, the stage area, the apron, an open arch, and the stage wings which are typically not made visual to the audience, who are seated facing end on. Often described as a 'window', a Proscenium Arch frames the play taking place on stage. There are many advantages to this type of staging, one being the way it enables quick and easy scene transitions where the set may need to change, another being it can allow for a more naturalistic, believable experience for the audience who do not see the exit/entrances, the lights, etc as they are covered often by a curtain. Since the late 18th century, ''proscenium arch theatre's have proven to still be the most popular style for theatre's in the modern day.'' (Encyclopedia Britannica, 2015). The reasons I am considering for my set design to be built with a consideration of end on style theatre, is that it's one of the staging styles which resonates with greek theatre extremely well. It also makes my idea of having a cyclorama backdrop more easy and viable.
Immersive/site specific/promenade
Immersive Theatre is being made extremely more popular and recognised in today's modern theatre world. Site specific work defines as pieces of theatre which take places in spaces which aren't originally intended for a Theatre audience, and are transformed into productions. I love the idea of immersing your audience into the world of the play, it allows for a more intimate, unique experience. A company made famous for their immersive work is the theatre company, Punchdrunk, to whom I am extremely inspired by. They make shows where spectators can roam free around the spaces, actors and set designs are all around them, and they have the free will to go wherever and see what they like. It brings a new way of story-telling into theatre compass, and the challenge of taking the traditional tale of Electra into a immersive piece is something I would like to explore.
End on/Proscenium arch
A proscenium arch stage consists of four main compontents, the stage area, the apron, an open arch, and the stage wings which are typically not made visual to the audience, who are seated facing end on. Often described as a 'window', a Proscenium Arch frames the play taking place on stage. There are many advantages to this type of staging, one being the way it enables quick and easy scene transitions where the set may need to change, another being it can allow for a more naturalistic, believable experience for the audience who do not see the exit/entrances, the lights, etc as they are covered often by a curtain. Since the late 18th century, ''proscenium arch theatre's have proven to still be the most popular style for theatre's in the modern day.'' (Encyclopedia Britannica, 2015). The reasons I am considering for my set design to be built with a consideration of end on style theatre, is that it's one of the staging styles which resonates with greek theatre extremely well. It also makes my idea of having a cyclorama backdrop more easy and viable.
Immersive/site specific/promenade
Immersive Theatre is being made extremely more popular and recognised in today's modern theatre world. Site specific work defines as pieces of theatre which take places in spaces which aren't originally intended for a Theatre audience, and are transformed into productions. I love the idea of immersing your audience into the world of the play, it allows for a more intimate, unique experience. A company made famous for their immersive work is the theatre company, Punchdrunk, to whom I am extremely inspired by. They make shows where spectators can roam free around the spaces, actors and set designs are all around them, and they have the free will to go wherever and see what they like. It brings a new way of story-telling into theatre compass, and the challenge of taking the traditional tale of Electra into a immersive piece is something I would like to explore.
Visual research
Personal reaction to past productions of Electra
Electra, designed by Ming Cho Lee
The imagery and symbolism of the palace being held here by elevation is extremely fascinating to me. The ways in which the palace affects the characters is something which I wish to consider for my design. It is portrayed, in my interpretation, as something which is oppressing the family; but it is also a foundation, it holds together the secrets, lie and deception. Seeing the palace as a physical manifestation, or even as its own character in its own right, us something which I wish to achieve. Once again, I am also inspired by the use of dull, decaying colours.
The reason this particular set design stood out to me as was it contrasted most set designs I had explored so far; The production, a contemporary look at Electra, has a extremely vibrant and peculiar set design. The colours range from warm yellows to neon greens, and the set is furnished with a 1970's look. The way this contrasts from the original source material, opting for a kitchen, rather then the palace for the central drama to take place, is an extremely interesting and bold move. It shows how even a classic Greek play such as an Electra, can be completely reinvented and transformed.
Electra, directed by Peter Stein
What initially struck me about this set design was the incorporation of the round on the centre of the stage. It pays homage to the Greek tradition of ampi-style theatre, famously performed in the round, and also creates a unique, diverse space. Pictured is Electra performing her opening monologue, an intricate scene where the chorus lament Electra around her struggling emotions. The way in which the set design elevates Electra's vulnerability, in my opinion, is extremely well designed. The sheer emptiness of the space with the chorus aligning the edges of the round makes Electra appear isolated and alone. In regards to my design, this is also a theme I want to emulate. The monochrome, bleak aesthetic pictures is also extremely interesting, it compliments the white lighting and allows the space to look extremely heightened.
Electra, designed by Ming Cho Lee
The imagery and symbolism of the palace being held here by elevation is extremely fascinating to me. The ways in which the palace affects the characters is something which I wish to consider for my design. It is portrayed, in my interpretation, as something which is oppressing the family; but it is also a foundation, it holds together the secrets, lie and deception. Seeing the palace as a physical manifestation, or even as its own character in its own right, us something which I wish to achieve. Once again, I am also inspired by the use of dull, decaying colours.
Electra, performed in the Buntport Theatre
The reason this particular set design stood out to me as was it contrasted most set designs I had explored so far; The production, a contemporary look at Electra, has a extremely vibrant and peculiar set design. The colours range from warm yellows to neon greens, and the set is furnished with a 1970's look. The way this contrasts from the original source material, opting for a kitchen, rather then the palace for the central drama to take place, is an extremely interesting and bold move. It shows how even a classic Greek play such as an Electra, can be completely reinvented and transformed.
Bibliography/Photograph sources
Buntport.com, (2015). Buntport Theater: Electra Onion Eater. [online] Available at: http://www.buntport.com/reviews/electra.htm [Accessed 6 Mar. 2015].
JAPHY WEIDEMAN LIGHTING DESIGN, (2015). ELECTRA, Epidaurus Greece. [online] Available at: http://www.japhyweideman.com/electra-epidaurus-greece/ [Accessed 6 Mar. 2015].
Thursday, 22 January 2015
Use of colour, atmosphere, and symbolism in my concept
Initial ideas
The inclusion of colour and symbolism in set design can affect the overall production greatly; design exsists to bring life to the narrative. My aim throughout this project is to ensure my design's symbolism is aligned with the themes of the play. ''Set design exists in conduction with the text'' (On Design: Ian MacNeil, n.d.), therefore my themes are directly inspired by Electra.
As aforementioned in my previous blog post, my concept for Electra is to create a 'timeless effect'' giving the audience ambiguity to exactly what time period the production is taking place in; I would hope my design portrays the following message, ‘’The tale of Electra could take place within in any era, as the play’s portrayal of war and emotion of is what’s crucial, and that is what determines the environment, not the time period.’’ Additionally, my portrayal of the house of Mycenae as a war zone is due to the chaotic way Sophocles conducts the dialogue, the pacing of the actors line, to me, feels very military style.
I intend to use mostly dark and grey colour schemes as they enforce a desolate, timeless surrounding. I want for the audience to feel entrapped by the set design, to feel like they are lost in it.
The only use of vivid colour within the set I would use would be for a water gully down stage right of the stage, which would be filled with lily flowers and run a bright, bold blue colour. Such incorporation of water into my set design is due to . The reason for choosing lilies to be running through the water gully is because they are infact symbols of death, representing a key message in the play, in particular, foreshadowing the upcoming death of Clytemnestra. The contrast between the blue water and the mostly grey set at the beginning of the play will, I believe, portray to the audience that tranquillity can still exist for the family, however, throughout the duration of the play, I would love for the water should become a more murkier colour – and when the murder is taking place inside the palace – the water should run a deep crimson, showing the ultimate decay of the family, and how in fact there is little tranquillity left. Other notable features in the set design is the use of gauzes, which I would use to project numerous imagery throughout, such as the image of Agamemnon. Furthermore, in terms of projections, I would also incorporate the palace doors as the back-drop of my design – The doors will have to be flats, in order allow projections onto them. The over-all atmosphere which I would emphasise is how restrictive the family’s place of living is.
Bibliography:
On Design: Ian MacNeil. (n.d.). [DVD].
The inclusion of colour and symbolism in set design can affect the overall production greatly; design exsists to bring life to the narrative. My aim throughout this project is to ensure my design's symbolism is aligned with the themes of the play. ''Set design exists in conduction with the text'' (On Design: Ian MacNeil, n.d.), therefore my themes are directly inspired by Electra.
As aforementioned in my previous blog post, my concept for Electra is to create a 'timeless effect'' giving the audience ambiguity to exactly what time period the production is taking place in; I would hope my design portrays the following message, ‘’The tale of Electra could take place within in any era, as the play’s portrayal of war and emotion of is what’s crucial, and that is what determines the environment, not the time period.’’ Additionally, my portrayal of the house of Mycenae as a war zone is due to the chaotic way Sophocles conducts the dialogue, the pacing of the actors line, to me, feels very military style.
I intend to use mostly dark and grey colour schemes as they enforce a desolate, timeless surrounding. I want for the audience to feel entrapped by the set design, to feel like they are lost in it.
The only use of vivid colour within the set I would use would be for a water gully down stage right of the stage, which would be filled with lily flowers and run a bright, bold blue colour. Such incorporation of water into my set design is due to . The reason for choosing lilies to be running through the water gully is because they are infact symbols of death, representing a key message in the play, in particular, foreshadowing the upcoming death of Clytemnestra. The contrast between the blue water and the mostly grey set at the beginning of the play will, I believe, portray to the audience that tranquillity can still exist for the family, however, throughout the duration of the play, I would love for the water should become a more murkier colour – and when the murder is taking place inside the palace – the water should run a deep crimson, showing the ultimate decay of the family, and how in fact there is little tranquillity left. Other notable features in the set design is the use of gauzes, which I would use to project numerous imagery throughout, such as the image of Agamemnon. Furthermore, in terms of projections, I would also incorporate the palace doors as the back-drop of my design – The doors will have to be flats, in order allow projections onto them. The over-all atmosphere which I would emphasise is how restrictive the family’s place of living is.
Bibliography:
On Design: Ian MacNeil. (n.d.). [DVD].
Initial Concept - Electra, Sophocles
Overall concept
Electra, written in approximately 420BC by
Sophocles, follows the tale of the House of Atreus - A family embedded in
corruption, lies and murder - and the daughter Electra's journey in dealing
with the grief and loss after her father, Agamemnon’s death. My overall design will be minimalistic, and I have decided to alter the location of the script to be the interior of the palace, rather then the exterior, which is the original design concept. The features I will include are the palace doors, steps leading towards the doors, and for my backdrop I would like to use cyclorama cloth.
There are many
aspects which need to be considered as a designer when staging Electra, for example,
the themes that will be emulated in the production's set to emphasis the play's
overall meaning; In my interpretation, the theme which strikes me the most is
the 'decay' of the family structure and the ways in which power can obscure a
person's mindset. Therefore, in my design, taking inspiration from the John
Engle's design in the 1997 Donmar Warehouse' production of Electra; I think it
would be extremely interesting to make the palace look broken – include imagery
of cracked rostrums, decaying rubble on
the floor, and a mostly monochrome
colour scheme throughout the entire set, additionally then juxtapose the decaying aesthetic with symbols of power - one of my ideas is to include a grand oak tree towards Upper Stage Right, the tree would symbolise the family of Atreus, and how the history of their family is a 'constant' in comparison to the palace, which is fading vapidly.
Secondly, what also is an imperative
factor to consider is the play’s use of time – The play follows a two act structure, and all the drama
takes place over one day. I intend to convey the play's duration though use of a cyclorama, which will be positioned as the back cloth for my design. Throughout the production, I would intend to use different lighting to represent the sky changing from day light to evening - use rich buses of yellow, blues, and purples, until the play's climatic scene, the death of Clytemnestra, where the lighting would remain monochrome.
In terms of the staging, in keeping with the traditional Greek setting, I intend on building my design to be suitable for a proscenium arch, end on theatre. As my design is fairly abstract and strays from the original intended design for the production - I also view it important to incorporate tradition, as the traditional Greek theatre design elements are there to enhance the level of tragedy.
In terms of the staging, in keeping with the traditional Greek setting, I intend on building my design to be suitable for a proscenium arch, end on theatre. As my design is fairly abstract and strays from the original intended design for the production - I also view it important to incorporate tradition, as the traditional Greek theatre design elements are there to enhance the level of tragedy.
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