Tuesday, 7 December 2010

Foam Board Joint

Frieze Design

I have also been looking at Greek friezes to decorate the architrave of the temple. Instead of adapting an existing Greek design I wanted to try and incorporate the fairy tale within the design. I have used a mix of women, trees and wolves to create a Little Red Cap inspired frieze.

Frieze Design

Greek Art

I have been looking at ancient Greek art work, especially sculpture, painting and ceramics. I would like the design and stylistic elements to be evident in the finished design.

Technical Drawing - Temple

Technical Drawing

Technical Drawing - Corinthian Column

The Corinthian style is more ornate and heavier than the Ionic style. In Corinthian temples, the columns have a fancier base to stand on. At the top of the columns, on the capital, there's a stone carving of acanthus leaves, under the architrave. 

The Corinthian order is named for the Greek city-state of Corinth, to which it was connected in the period. However, according to the architectural historian Vitruvius, the column was created by the sculptor Callimachus, probably an Athenian, who drew acanthus leaves growing around a votive basket. In the oldest known Corinthian capital was found in Bassae, dated at 427 BC. It is sometimes called the feminine order because it is on the top level of the Colosseum and holding up the least weight, and also has the slenderest ratio of thickness to height. Height to width ratio is about 10:1.

I chose a Corinthian column rather than a simpler design because they are more closely linked with trees. Also as the columns are symbolic of a forest it made more sense to use the leaf design capitals rather than Ionic or Doric.

I found some measurements for a column on the Internet and then used those to calculate the rest of the dimensions. I then used these dimensions on another image of a capital to work out the sizes of the column decoration. These measurements were then used to make an Auto CAD drawing.

Technical Drawing
Technical Drawing Dimensions

Technical Drawing - Margate Theatre Royal

Sketch Model

Sketch model showing how the gauze could change to reveal the temple at the back of the stage. I made a simple model out of paper and tracing paper for a quick way to see how the finished set could look and if the design needed to be changed in anyway.

Stage Designs

Through this design I have been exploring the idea of using gauze that can hide and also reveal the temple at the back of the stage. The gauze will be double painted or projected with columns and trees and depending on the lighting direction or colour will reveal different images. As the actors move around the set it will appear as if they are moving through an ever changing forest until the temple at the back is revealed. The temple will be built out of flats using a mix of wood and sculpted/moulded detailing on the columns and frieze.

Stage Design

The amount of gauze and size of the strips, or whether I use a full sheet of guaze is up for exploration when I make the sketch models.

Saturday, 20 November 2010

Stage Designs

I have been looking at amalgamating my set designs for Greek Tragedy with the War genre. In particular I have been looking at the use of gauze and lighting. I have put the set pieces onto strips of gauze that can be light to reveal or hide what is behind it. They will be painted with trees and Greek columns that will represent a forest. During a group tutorial with Andy we looked at using more gauze to hide the temple at the back of the stage and then with lighting slowly reveal it as the characters move through the “forest”. I am going to experiment with the gauze being double painted so that it can show two different images depending on the lighting.

Monday, 15 November 2010

Stage Designs of Richard Finkelstein

I like the use of projections to create different scenes and atmospheres with such a simple affect. All four images are really striking and visually powerful, but also completely different despite being the same stage.

 (scenery design / Projection design)
This production marked the North American premiere of the Tadashi Suzuki version of the work. The production was directed by Suzuki’s former student, Yukihiro Goto and was presented by The State University of New York at Stony Brook in a black-box theatre pre-configured as an end-room proscenium environment (SUSB has multiple black-box theatres so this one is semi-permanently configured). There was a small to modest budget for scenery of around $1500.
Description of the Setting and Projection Elements:
The setting consisted of a series of screens that could travel across the stage on cable. The screens could close off portions of the stage, or move in choreographic patterns with the actors, or situate into a traditional wing and drop style configuration.
The screens were of an innovative design. They were fabricated from plastic "safety snow fence" the orange net fencing material one most often sees around construction sites. These were transformed into high-gain projection surfaces through the application of a silver coating. Since approximately 60% of the area of the screen material consisted of holes, the screens took on a scrim function as well. When layered and interacting with actors, light, and projections, a myriad of moiré patterns were created.
Behind the planes of screen operation were situated 2, 8 foot high seats on which sat the "gods" through the entirety of the production.
At the rear of the stage, to create maximum depth and light dimensionality, we fabricated a rear projection cyc. Our budget was so very limited that I had to experiment with found materials. In the end I designed the RP cyc from black plastic garbage bags, slit, and re-assembled into a drop. It took a lot of experimentation with different brands to find the best product for this application. There was some wrinkling, but with the angle of projection being very flat, the wrinkles, as seen through the screens, took on a very shimmery quality.
Another innovative element was a series of bodies produced as props. These were produced in a stylized sculptural manner from raw 1" diameter Ethafoam.
Working Within the Suzuki Style and Sensibilities:
Support of the Suzuki style and methods became a paramount objective in this assignment. My understanding of this system came primarily through work with the director, Yukihiro Goto, and through extensive observation of the actors in training and in performance. My observations of the style and process were as follows:
  • The training and style is intensely physical
  • The style is about the performer within and interacting with, and creating SPACE
  • Within the movement style, stillness is celebrated as an important choice of movement.
  • The movement is oven very disciplined and stylized.
  • The style is very presentational (vs representational)
  • The actor is the focus, but within space.
  • The style presents classical theatre forms, but interpreted through modern structure. In this sense it is a very post-modern theatre form.
  • There are also elements of cultural fusion. In this case we were integrating three cultural sensibilities geographical and temporal, The classical Greek, Classical and modern Japanese, and modern western forms.
In the scenery and projection elements, I aimed to support the style, but I was excited to offer physical parallels to the style as well. The results were exciting especially as in the end, the acting/directing style also greatly supported the visual work. For instance the wonderful use of stillness allowed for the lighting by Richard Dunham as well as my projection work to be even more striking than would normally be the case. The disciplined blocking allowed for maximum control of light and spill.
In the design, as Suzuki does, I use a traditional framework, in this case the wing, and drop form, but re-interpret it through the use of modern materials and new perspectives. The set feels at once, Japanese, classical, modern, and Western.
The kinetic nature of the set allowed for a complete integration with the actors and their movement. The clear floor allowed the actors full control of their space. The projection elements allowed for strong support of the emotional texture of the work. They were all abstract images and textures from my collection of projection images.
A word on the Projection Technology
The photographs of Clytemnestra presented in this portfolio are not re-touched (except to remove photo blemishes like dust and scratches). Even at curtain call, the projections were quite bright and striking. Yet this was accomplished with a single, off the shelf, Kodak Ektagraphic III projector (before bright module technology) at the rear of the audience area.. Through an understanding and application of basic principles of optics, I have been able to develop techniques and methods allowing projections to be 2-8 times brighter than they would appear in most theatre instances. This show provides an example of my work in this arena. Even with the extreme wide angle of a 1.4" fl lens, the images are striking. One review even referred to the beautiful "painted drops" in the set when in reality all images were from the projection work.

Saturday, 13 November 2010

These are some designs to go with the costume drama proposal.
Possible set design
Costume designs
Costume designs