Edges

Edges.

Kate Burnett.

 Edges - the line where seating ends and performance begins.

- Is an audience necessary?

- Relationship from audience to performer in a space?

- 'Clearing' - everything else clears to the side - for somebody to take procession of the space.

- Designated space - something that has a name - people thought about storytelling going on there.

- Found space - something that comes with its own history.

Designated space - might feel comfortable there

                                 - Nerve racking - not being there before.

                                    > Bad seats

                                    > Awkward

                                    > Not fitting in

Found space - Adventure about it

                                    > Rise taking - Night

                                    > Exciting - Day

                              - Might not be that good

                              - What type of people will be there?

                              

Participation - Panto - crossing the divide

                       - intellectual, emotional participation

Immersive Theatre - huge participation & relationship

                                 - space invaded! Your space, and the space you are in.

18th Century playhouse > Charles II

Elizabethan & Jacobean

^ insight people politically > huge gathering points

Spactical - 2012 London Olympics 

       - Attempt to tell you a story 

Street Performers - Little things in daily life

                                - Start to question what is really

                                - nobody wants you to be just an spectator. 

Q: How do people use the word 'theatrical'?

Mickel Freedmen (?) modern Art exhabition

                -Engaging with work

'Too Theatrical' - His criticism

Could mean - its too obvious

                      - Larger than life

                      - Its asking you to engage with it

                      - Its asking you to be involved

                      - Not real art - Art should just be there, that's it, no more involvement in needed.

Q: How much do you want the audience to feel comfortable?

Q: How much does the audience need to be involved/ viewed? 

Q: How to make the audience feel involved?

Q: How to make the audience feel like it's happening around them?

Look at...

-Robert Wilson

-John Cage

Edges of Illusion

Edges of Illusion.

Kate Burnett

Edges of Illusion: An enquiry into the delineation and experience of scenographic experience.

Theory & Application: Art as a mode of organising an experience

Preparing the ground, the entry through the fault, 'the opening of the particular...'

Try to create that magical space where the performers perform and keep that edge for the audience.

Lighting is one of the main ways to get the egdes of the stage space but it's important on a thrust stage.

Not to blind the audience.

Light can create space within a space.

Edges can transform with space and lighting.

Make the lines of the edges to make the audience see the scope and believe it's there eg- rope as tents

Key Questions...

Q: Where are the audience?

Q: How do you go from one location to another?

Q: How do you physically follow Arthur's journey? (Saturday Night & Sunday Morning) 

Stage Technologies

Trap doors - even in Athens' coliseum.

               - scissor lifts
               - are used to develop the stage
               - Trap doors were replaced
               - More weight - Scenery
               - more items can be moved

 However...
                  - Heavy
                  - Difficult to install The Swan Theatre is a great example of a theatre reacting to a change in technologies 



Hemp flying - Rope management
                   - Not many around
                   - Weight limitation
                   - Not modern Counterweight Power flying
                   - Run by motors
                   - Smoother
                   - Still a weight limitation
                   - Quicker
                   - Safer
                   - No human error
                   - Timing
                   - Health & Safety (Linked to no human error)

 Lighting in critical for your design It can influence the look and feel of the scene
                   - Model box - Sketches

 Pyrotechnics...

 Snow - 'Snow Business' - Made from plastic

 Rain/ water - Rice - small scene / behind the set - through windows Smoke & mirrors (Self Note) Victoria era is the best to look at for atmosphere)

Bruegel Costume Project

Bruegel Costume.

The brief for the Bruegel costume project was to create one of the costumes of one of the characters in the The Wedding Dance, 1566 by Pieter Brue. My group picked the man, we chose is the one in the bottom right hand corner in the red box which I added to identify him easier.

The project involved us forming groups of four or five and anaylising the picture to determine what the material would have been, the placement of the seems and the shapes of the garments.

The pattern laying proved to be very time consuming and at times, difficult. 

The fabrics were already coloured and where made from a cotton/wool fibre. We only had twelve lessons to construct this costume and therefore didnt really have the time to use for dying the fabric ourselves. 

Making the costume went fairly well, it didn't take too long to put together once all of the pattern pieces were drawn and cut out. 

Zoe was our model so all the measurements were taken from her at the beginning of the project. After the garment body was put together we then had to fit the trousers to her. The fitting went well and didn't take very long to do.

The finish costume involved a doublet, Jerkin, Hose and a codpiece and all the garments fitted well together. 

This is the final outcome.

3D Model Making.

Brief: To create a model in white card that is a 3D conceptual response to a piece of text. This is not a set design; it is a conceptually inspired sculpture. The model should include at least one cut 1:25 scale figure and for that scale to relate to the rest of the model. The whole sculpture should not occupy more than a cubic 40cm. It can be viewed from any angle that you choose.

The script that we were given was of a small section of the play 'A Midsummer Night's Dream' act II scene 1 where Oberon and Titania are in the forests talking about the happenings around them.
The section that stayed in my mind about the script was the forest in which the characters are stood in. In my mind before actually analysing the section of the scripted I saw a picture perfect scene with fresh tall green trees and the entire scene very quaint. However after spending a lot of time working as a group our analysis depicted a very different scene. 
The brief was for us to take a surrealistic approach to creating a 3D model taken from the small but very detailed section of the script. I thought that the trees were the most interesting feature and I found that they stuck in my head. 
Because of the time of year that we were given this project, the sun stayed low in the sky and depicted this silhouette of the tree outside my window onto my wall. 

The Construction: 

I decided to go with the imagery of trees. The idea was to show both worlds, the human world and the land of the fairies. This picture to the left shows the tree the right way up. 

Constructing the whole thing took around 36 hours to make and dry. 

The main body of the tree was made by cutting two shapes out of mount board, making sure that the top of the trees are flat and even for a better surface for it to stand on. 

The main body of the tree was constructed out of mount board. I cut one of the trees in half and stuck the two pieces onto either side of the other tree. By using news paper I bulked out the tree and used tissue paper to finish it off. 

The roots took the longest to bulk out, the card could only be layered with tissue paper and every layer had to semi-dry before adding more. 

Below are two images of the finished project. The idea of two world linked together by  the roots of the trees. Ideally a full scale piece would fit for two levels showing two different perspectives, however with the ability to only see one side of the world or the other. 

Saturday Night & Sunday Morning pt.1

Saturday Night & Sunday Morning pt.1 Research.

Film...
Brenda's sister -Major missing character.
Burt's mate - Major added character.
Scene added - Goose Fair

Big changes...
Aim: You get a different sense for Arthur
   > More of a bastard in the film.
   > Warmed more to Arthur's mannerisms. 

Arthur treats Brenda worse in the film than in the book
Less anger about society and marriage in the film. 


Research into...

• Socially realistic film
• Pub culture
• try and watch at Sporting Life
• try and watch Loneliness of a long distance runner 
• Cathy come home (documentary drama) 

First time ever viewed in such a way of working class life.

Historically - End or WW2, huge expectations from people about social and ergonomically.

Labour Gov - Create health system

Economy began to bloom 1950's virtually full employment

Young people with money in their pocket but very bored.

Young people didn't want to be like their parents.

1960's political problem

1968 Student revolt?

People being wealthier but bored out of their minds.

• Rise of youth 
• Music
• Fashion
• Environment - cinema
• political

> Womens position

> 1967 abortion 

     > Backstreets

> Trade union

> Communist and Labour party

> Geography Notts

> Rayleigh Factory

> Factories

> Political, social and economic backgrounds.

Designing with Light.

Designing with Light.

Chris Ellis.

Masterclass.

An insight into how Lighting Designers works with the rest of the creative team.

First impression are very important. 

    The lighting of an auditorium before the performance can be influenced to create a scene. 

Design approach:

• Script/music/director
• Scene desgin
• Camera work
• Stars - 'jewel like'
• Pace

Side light is important because it can make the performer stand out against a fabulous background.

Look at...

Maria Bjornson's model - stalls view, Prison camp in Siberia.

George Souglides' costume design.

- Projection can be the answer to a lack of scenery.

Front cloth - used to do scene changes. (CCTA)

Scottish Opera,

Tim Hetley > Ariadne

CGI is where things are right now! Always have someone who knows how to use it.