Author: Ellie Richards

Set Designs: The Process of Creating and Eliminating Ideas

 

    

 

These are the initial designs which I have created for ‘A Gothic Tale’, based on meetings with the director and the production team in which we consolidated the key elements of design which we would need. This includes the standing wooden angels, the back cyclorama, the use of clear entrances and exits for the actors, a piano for the piano tuner and accompanying scenes, and various pieces of furniture to add realism to scenes such as the bedroom and the piano room.

I have also recently included the idea of suspending a fabric drape, on which I could paint another angel or stencil, but in a more abstract, stylised style to contrast with but also accompany, the wooden angels. As is apparent above, I have experimented with different positions for hanging the fabric upstage, including the use of stage steps, which are already present at the LPAC, to use as a doorway effect.

As is evident in these designs, I went through many versions of how to stage the bed, piano, and other set pieces which we knew that we would need. This also includes the use of drapes, to form a four-poster style bed frame, perhaps we could also hang these from the ceiling DSR?

 

     

 

 

This last set of designs focus more consistently on the different lighting states, and working through the practicalities of how to create a doorway/ passageway to the bloody chamber. The two designs above, for example, show how I have tried to create a sliding door effect, which could be revealed at some stage throughout the performance. Furthermore, I have experimented with different types of atmospheric staging, for example, building the stage up with all its components, or leaving the stage quite bare apart from set pieces downstage to move the action closer to the audience.

(Please click on the images to see larger versions).

Word Count: 309.

Developing Set Ideas

DSCN1061

 

Since my previous post, I have had much enthusiasm from the rest of the company in terms of re-creating the wooden 3D angel for our production. Furthermore, I have managed to develop this concept in collaboration with the production manager, and have decided to create two wooden angels, identical in size and appearance, but with a reversal of the image, so that they will appear to face each other from opposite corners of the stage. If we placed these at the edges of the proscenium arch, and reinforced them with stage weights and brackets, they could create a really impressive and imposing scenic composition. Therefore, in moving forward, I have arranged to meet with our stage manager to source some wood in the coming week.

Furthermore, as we need to create ‘the bloody chamber’ somehow on stage, perhaps we could consider a form of doorway, or gateway, such as the crypt/tomb image above?

 

Word Count: 150.

 

Works Cited:

Image, Online: http://1.bp.blogspot.com/-qKC0u1nv9s0/T-_gqX9wfRI/AAAAAAAAATk/_Z3stY2deY4/s1600/DSCN1061.JPG (accessed 12 February 2013).

 

Gothic Set Design: Angel Statue Idea

From collecting a bank of usable creative materials, I have been considering in more detail the possible gothic images which I could use in the set design, building on the ideas of dark connotations, and a grand, imposing stage image which we discussed in our production meeting on Thursday 7th Feb.

I thought it might be helpful for the director, production team and script writers to include an example of an angel which I painted for a previous set design, to show how I could use an image, project it on reinforced mdf, and paint to a desired 3D effect. If we wanted to create a similar set piece for our production, it needs to be projected, sketched out and painted. I will ask the LPAC Tech team if I could use some space in the ‘scene doc’ to paint these pieces. It would also be possible to make a larger design or motif from a stencil if that sounds interesting.

As displayed below, this angel was created from an original photograph which I adapted to look 3D and statuesque.

 

The original photograph

The original photograph

 

My original 3D style painted version

My 3D style painted version

 

Word Count: 187.

 

My Artistic Influences

Edward Gordon Craig 

 

Edward Gordon Craig- Scenic Artist, Actor and Designer

The above designs are by the famous theatre practitioner Edward Gordon Craig, who has been extremely influential in terms of shaping the design styles and approaches of succeeding set design creations. In my opinion, the main and most impressive features of Gordon Craig’s work would be the confidence in his use of vertical lines and columns and layering of these shapes to create a sense of depth to an overall stage image. Furthermore, his use of steps and levels runs in complimentary order to the height of the stage, which is an adaptable use of set pieces.

I have taken the role of imparting my pre-existing knowledge of successful set design concepts and painting techniques, where the ideas of elevated, striking sets, such as those devised by Gordon Craig, could be beneficial in terms of how we could create the overall aesthetic ‘look’ of our production. Concentrating on a gothic twist, however, I need to find a way to adapt these influences to suit our stage space and production values, and bring in the director’s and production manager’s ideas into one cohesive, consistent and practical outcome.

 

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Creative Mood Board
Creative Mood Board
I created this mini project as a means of developing a consistent set of gothic/ and or fairtytale images which may be useful for the design of the set. The innocent maiden, for example, as an emblem of a forgotten or once happy past, could be a powerful recurring image, as too could the concept of imagining a serene angel statue become manipulated by death and destruction, coming to life, or changing someway throughout the production to shock or impress the audience as a visual spectacle.
Linking to the director’s suggestion that we focus on The Bloody Chamber by Angela Carter, I have been experimenting with symbolic or iconic images which we could display to remind the audience of a particular event which triggers the action, such as the brutal murders of the dead wives which occurs in the story.
Angel Concept/ Poster Design       
Angel Concept/ Poster Design
With this idea, I was trying to focus on how I could create an overall look for the show, taking inspiration from the popular video game series BioShock, which has a distinctive dark and sinsiter art deco style, twisting the conventions of cheerful posters and adverts, and creating, looming and mysterious alernatives. In this regard, I created a ‘poster’ image, with a mysterious slogan which would fit as a concept of what the production could try to project. I find these types of activities useful, as a way of developing a clearer concept for myself as a designer.
Angel Concept with Skull
Angel Concept with Skull
Here, I manipulated the angel image to try and emphasise the idea of one image triggering two different interpretations for an audience. This is also consistent with the director’s specifications that we create the concept of liminal spaces; a collision of two worlds.

(Please click on the images to see larger versions)

 

Word Count: 490.

 

Works Cited:

Carter, Angela (1995) The Bloody Chamber, London: Vintage Press.

Russell, John Brown (2001) The Oxford Illustrated History of Theatre, Oxford University Press.

Zarilli, Phillip B, Bruce McConachie, Gary Jay Williams, Carol Fisher Sorgenfrei (2010) Theatre Histories: An Introduction, London: Routledge.

2K Games (2002-2012) BioShock.

The Starting Point: Forming Ideas

Through numerous intensive group discussions, we have decided to focus our theatre company around the premise of creating children’s theatre for adults, by either manipulating already known fairytales, or trying to find the core dark elements within children’s stories which we could corrupt, twist and change to create a unique piece of theatre.

Our director is already familiar with the short gothic stories entitled The Bloody Chamber by Angela Carter, and we have an enthusiastic script writing team who are keen to try and adapt and fuse two or more of her short tales from within this volume. On my part, as Chief Designer for the set of the production, I am keen to start collating ideas, visual stimuli and any other creative triggers which I find during my next few days of research, to form a selection of workable stage pictures as both a practical model, and a solid, clear and powerful composition.

By starting with the concept of a collision of two worlds, and through discussions with the director, I will work along the themes of creating and distorting liminal spaces, trying to disconcert the audience and sheer away the boundaries between conventional and surreal stimulating theatrical experiences. I hope to be able to make use of, emphasise and develop my relatively broad knowledge of scenic composition and painting skills from previous production projects, to create my most ambitious set to date.

Word Count: 232.

 

Works Cited:

Carter, Angela (1995) The Bloody Chamber, London: Vintage Press.

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