Category: Process

The Final Design and Google SketchUp Concept

The Final Design for 'A Gothic Tale'

The Final Design for ‘A Gothic Tale’

 

I have now reached the stage where I have collaborated, developed and eliminated ideas from my previous set design concepts, to create the final set design which we will use as the official guide for set and props positioning in the production of ‘A Gothic Tale’.

The final set includes a well-rounded and coherent expression of what our production is trying to convey. For example, drawing from the theme of a collision of two worlds, fairytale and dark gothic, I have decided to finalise my plans for constructing the wooden angels, which I will begin shortly, and finalise the fabric angel design. I decided, together with the production manager, to eliminate the use of the back cyclorama, as this was unnecessary, and move the fabric angel upstage centre, to create the most appealing composition possible. I have also been highly influenced by Edward Gordon Craig, with the use of tall vertical shapes and steps.

We plan to lift the fabric angel up to reveal the bloody chamber, of which the actors can either exit or enter through the back, or from the sides of the stage. Through this gap we will shine a strong beam of light, to add to the reveal and mystery of the chamber. The original positions of the bed DSR and the piano room DSL are to stay, particularly as this is a requirement from the script and the director and it is my job as Chief Designer to work with these specifications.

We concluded that the best method for suspending the fabric angel would be a pulley hoisting system, which will lift the angel to leave a gap of about 6ft, enough to walk up and through. I will need to purchase 7m of fabric to leave enough lift and drop room for the hanging.

Diagram of angel pulley system

Diagram of the angel pulley system

 

Sketch Up Design for 'A Gothic Tale'

SketchUp Design for ‘A Gothic Tale’

 

Sketch Up Design- alternative view

SketchUp Design- alternative view

 

I completed this Google SketchUp diagram as a virtual model of how the final stage will look and to give a clearer portrayal of how the set pieces will fit together in relation to the rest of the stage. This was certainly a helpful exercise when trying to establish the size of the bed and piano within the space. Our stage manager has managed to negotiate that we can have free wooden sheets to create the standing angels. This is excellent news, as not only does this mean that we can preserve our allocated set budget for other expenses, but I have an immediate resource which I can start work on as soon as possible.

I will also continue to be in consistent communication with the other members of the production team, as lighting plans will also be crucial to the success of the set design.

(Please click on the images to view larger versions)

Word Count: 493.

 

Video… Does it enhance a performance or distract?

Does video enhance a performance or does it distract from the real aim of the piece?

This is a question which I have been debating recently.

As Production Manager, my initial idea for the opening of the show was to project a short video which would ‘set the scene’ for the performance. Using animation software, my aim was to create a Progeny Theatre storybook, that would open up to reveal the title of our show A Gothic Tale this would then fade into a journey through a dark, snowy forest leading to a Gothic castle shrouded in mist and mystery, similar to the videos below, which have been created by the general public.

Sigrid Merx explains that: “When video is employed within the theatrical frame, there is a potential for the static space of theatre to become more dynamic” ((Merx, Segrid (2006) ‘Swan’s way: video and theatre as an intermedial stage for the representation of time’ in Chapple, Freda and Chiel Kattenbelt Intermediality in Theatre and Performance. Amsterdam: IFTR. p.71)). However, as much as our company enjoyed the idea of building an atmosphere using visual technology, one major concern was whether this took away from the magic of the theatre experience rather than adding to it. The audience will have come to the theatre to watch a play, not a film.

Of course, an important element to Progeny Theatre’s Manifesto is that we are ‘tech heavy’ and enjoy the use of elaborate technical devices to enhance our productions but where does the line stand between film and theatre? How much technology can you throw at a theatrical performance before it no longer is ‘theatre’?

With this in mind, our production team have adjusted their focus onto more stage based technologies such as haze and smoke machines and creative set in order to mesmerise our audience. We want to encourage the audience to become more of an active participant in the theatre experience, rather than a passive ‘watcher’, by drawing them in with numerous visual delights.

 

Word Count: 340

Kate Dawson.

Works Cited

 

The Importance of Production Meetings and Rehearsal Notes

Producing detailed production notes during rehearsals is important for the performance because it allows designers and technical team members to remain up-to-date with a show’s progress without having to attend all rehearsals. Generally, it is the task of the DSM to compile all rehearsal notes, however, because in this production the SM is calling the show and the DSM also has the job of scriptwriting, it is the responsibility of the PM, SM and DSM to complete these notes.

When discussing production notes, Palin explains that: “As this is the main line of communication between the company and the production team, it is vital that the DSM [or any production team member] makes detailed and accurate notes throughout rehearsals” ((Palin, Gail (2010) Stage Management: The Essential Handbook. London: Nick Hern Books Ltd. p,41)). Compiling such notes allows designers/set builders more time to complete their designs and progress with their own tasks while remaining privy to any changes that have been made which will affect them.

It is also important for a PM to organise regular production meetings with both the director and the design/production team to ensure they are kept updated with the progress of both the show and the production processes. This will ensure that deadlines are met and the production keeps moving forward.

 

Below is the first of many ‘Production Rehearsal Notes’ which can be viewed as *Appendices in the coming weeks.

Kate Dawson

Word Count: 240

Works Cited – can be viewed beneath the following ‘Production Rehearsal Note’

Progeny Theatre Rehearsal Note

Production: A Gothic Tale

Date: 11/3/13

 Notices for: ASM, DSM,SM, Set /Sound/Lighting Designers.

Props:

  1. The chair used at the start of Scene 1 will also be the piano stool; therefore an extra chair will not need to be sourced (LPAC prop store).
  2. A wooden dressing table is required for Scene 1 (LPAC prop store).
  3. One small mirror is needed to sit on the dressing table (LPAC prop store).
  4. An old silver brush is required during Scene 1 (needs sourcing).
  5. Piano tuner requires tools to be kept in a small box during Scene 3 (needs sourcing).
  6. During Scene 3, the director has asked for the set to be full of small trinkets/items, which the housekeeper can tidy – These are likely to be placed on a small shelving trolley (LPAC prop store).
  7. The Count requires a suitcase during Scene 3 (LPAC prop store).
  8. The Count also needs a set of large metal keys (LPAC prop store).

Lights:

  1. During Scene 1, a spotlight is required DSC on the Countess. This may change colour as the scene progresses.
  2. A lighting change will be needed once the Countess stands up during the above scene.
  3. After the monologue in Scene 1, the lights will fade up into a general wash.

Sound/AV:

  1. The opening AV will need to be changed, as it is currently too much like a film.
  2. The music for the opening may also change but will still end with an ordinary ‘grand’ Wedding March.
  3. An ‘out of tune’ version of the same Wedding March is required at the end of Scene 1. This can be edited on Audacity.
  4. The projector may now be focussed on stage rather than at a cyclorama upstage. 

Set:

  1. A cyclorama will no longer be required; a plain black curtain upstage will suffice.
  2. The fabric angel may need to move to USL as it could now be masked by the bed.

Word Count: 307

Kate Dawson

Works Cited

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.

How will I manage this production?

The most important factor of producing a technical demanding production is organisation. ” The production manager is responsible for the entire organization of a theatrical production” ((Crabtree, Susan and Peter Beudert (2005) Scenic Art for the Theatre. Oxford: Focal Press.)).  A PM’s main role is to organise ALL elements of the theatrical production from set to lighting, sound to props and bring all these elements together into one, cohesive performance, all the while maintaining the director’s concept for the show. In order to achieve all of these aims in an efficient and effective manner, a PM must be well organised.

Therefore, my main method in producing this performance is careful planning and organisation  and, as a consequence, ensuring that all designers/stage management team have clear instructions and deadlines to meet throughout the production process.

After our initial production meeting, my aim is to begin set construction as soon as possible (ideally during the Easter break) and work to as close a budget as possible. Theatrical productions such as ours, which employ numerous technical elements, can often incur unexpected costs close to performance day. Therefore, I feel it is important to ensure that some money is left in the budget for any unforeseen costs on performance day.

I also aim to maintain constant contact with the director, throughout the rehearsal process, in order for no technical requirements to be missed. In order to do this, I will ensure that at least one member of the technical team (not including those who are also actors) are present at every single rehearsal. Ideally, the Stage Manager will attend as many of these rehearsals as possible because she will be on book during our live performance and it is important that she knows the performance inside out. Any member of the production team who attends these rehearsals has been asked to compile a ‘Production Rehearsal Note’ (see *Appendices) detailing any technical requirements/changes which have been made during that rehearsal.

This is the Stage Management Rehearsal Schedule detailing who will attend each rehearsal:

Stage Management Rehearsal Schedule

Kate Dawson

Word Count: 346

Works Cited

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