Tuesday, March 23, 2010

Project 3: Directorial Concept: Titus Andronicus

Photo Morgue:

Costumes:


http://lh5.ggpht.com/_uuSFdDYNAc4/RzgAkilSHrI/AAAAAAAABTc/0tPcKLw8P3c/s800/roman-army-10.jpg
http://images.art.com/images/products/large/12372000/12372294.jpg



http://static.squidoo.com/resize/squidoo_images/-1/draft_lens2273559module12442354photo_1225851632costume-romemodern.jpg


Lighting:



http://www.onstagelighting.co.uk/wp-content/uploads/2009/06/dance-lighting.jpg


http://www.bizbash.com/content/editorial/StoryPhoto/big/e12525image9.jpg


http://www.goredforwomen.org/uploadedImages/Red_Around_Town/Cities_Go_Red/Merck&Co-WhitehouseStation%20NewJersey2.jpg




Color Palette:





(I thought this was a good representation of white dominating red)

http://thumb18.shutterstock.com.edgesuite.net/display_pic_with_logo/177652/177652,1241035242,2/stock-photo-white-orchid-closeup-against-red-focus-on-the-pistil-29390347.jpg




http://veimages.gsfc.nasa.gov/15544/aster_dc_lrg.jpg


http://media.photobucket.com/image/red%20and%20white/msfeleciat/whiteRose.jpg


http://www.camelieantiche.com/images/a%20volta-1.jpg



Location:




http://cache.daylife.com/imageserve/0aFD5Nn3haffj/610x.jpg




Http://www.yalebooks.co.uk/yale/images/wallpaper/Yale%20Girouard%202.jpg



500 Word Concept Statement:

Titus Andronicus is, in my opinion, one of Shakespeare’s most interesting plays. The only problem I have ever dealt with is that it is not easy on the ears. It is a play full of blood, betrayal, revenge and violence that should be seen and experienced. With this production, I plan to make the telling of the story, not only audible, but visual more than anything else. I want to explore the expression of color and how it makes one feel as well as its symbolic meanings. All of the characters in this play are products of their violent environment one way or another. Therefore, I don’t think it is enough to show archetypal characteristic through the color of their costumes, it is what is at their core that defines their nature. For example, when Lavinia is raped and mutilated, she maybe dressed in red due to her surroundings but the blood that pours from her would be white, to show it was her true innocence and purity that was stolen from her. Blood color would change in correspondence to which character it comes from. I would like tyrants to look like tyrants and heroes to look like heroes. Many of these characters have no development throughout the show and their nature shouldn’t be hidden from the audience. I plan to make the two main colors red and white. These are two very contrasting colors that invoke different emotions. Because of the violent nature of the show, I want red to be the most used color with accents of white showing as the striking opposite. Everything is so saturated in murder and revenge that only very little does justice or goodness shine through.

For the most part I would like to keep to the original setting from the script but with an abstract interpretation of the time period. I want to keep it applicable with the time setting in the script, but I want to make it understandable to a modern audience with visual aids that will help them along with the journey. This is so when one gets lost in the language, visually they will be aware of what is happening. I want the audience to feel as though they have been sucked into a world of chaos and mayhem. I want the sets to be large but not cumbersome so the actors have freedom to move. Backdrops would be preferred with, perhaps, a few levels for some variety. Costume style should match that of the set, true in basic form but with abstracted twist to it. There is an example of color for costumes in my morgue and an example of the modern-roman twist that could be used. Lighting should also be a bit dark and full of color in order to capture the mood and intensity of the scenes happening.

The most important thing is that the audience is enveloped in the total pain and suffering these characters are witnessing. It should challenge and intrigue as many senses it can and should leave them full of emotion when it ends, abruptly as it does.



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Tuesday, February 23, 2010

Commedia Dell' Arte: Il' Dottore

My character for this project is Il Dottore (aka The Doctor). He is a commedia stock character that is usually used in scenarios as an obstacle between the two lover characters. He is usually trained in one field but claims to know specifics about many others outside his understanding. He loves to hear himself speak. He is often the character who talks all the time but never says anything. He is usually portrayed in a robust physique, for he loves food and every thought he has and every action he takes is in someway food related. He also often has rosy cheeks to display that he also loves his drink. Actors who play him usually have a large belly and lead with it when they walk. He places all his weight on this heels and keeps his hands in front of him. His jokes are usually crass and towards the opposite sex and he is played as loud and annoying. He is often friend of foe to the Pantalone character and they are usually never apart.

While researching for this mask, I used history websites as well as others selling more modern looking commedia masks. Many of them displayed great photos and descriptions of not only the characters but the masks as well. When making this piece, I started with a base mask that covered the forehead, nose and cheek area. Then I inflated a balloon and attached it to the nose piece with tape and built a bridge, joining the nose and mask together smoothly. I had to cut out the cheek areas to make it look more authentic to the usual style of mask for this character. Then I layered it with paper mache pieces and used tape to smooth the edges. Paint was used to cover the whole mask in a solid color. I used torn up cotton to make the eyebrows and attached black ribbon onto the top of the mask, then covering the ends so they were invisible. I put the ribbon on top of the mask so that way, when placing it on my head, the ribbon would gently pull the mask to shape my face. This was instead of having the ribbon on the inside, fighting the tension of the mask to pull away from my face.

The mask is “authentic” the way of shape and style. It was often mentioned in text that only the forehead and nose area were covered with mask. The cheeks were to be left exposed so the actor could rouge them in order for the audience to tell that he was a drunkard. Colors often used for this mask were darker colors, never bright or out of the ordinary. Usually black, brown or flesh tones were the only ones used for this stock character. The mask is not “authentic” in the fact that modern materials were necessary for its production. Paper mache, being made of flour and water, has been used for a long while. The other materials used were not exactly fit for the time period but worked very well for this project.


Some websites used:

http://www.shane-arts.com/Commedia-Dottore.htm

http://www.commediamask.com/pages/dottore.html

http://www.delpiano.com/carnival/html/commedia.html







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Friday, January 29, 2010

Project 1: Option 3: 10 Actors playing Oedipus from Oedipus Rex

1.) Malcolm Hardman. Arts Theatre. Cambridge, England. 1965.

It seems since the play is so old and known by so many that people have embedded in their mind how the character should be played before they even step into the theatre. According to this review, Malcolm Hardman speaks his lines clearly so that everyone can understand him, but his looks and movements seem lacking for this audience member. Apparently, this version of the character is not as manly and demanding as he could or should be but plays the ending tragic moments well. The reviewer even goes so far as to say that Hardman's co-stars to their best to carry him and not "upstage" him.



2.)Powers Boothe. Eisenhower Theatre, John F. Kennedy Center for the Performing Arts. Washington D.C. April 17-29, 1972

Boothe played the character of Oedipus with power and violence. He plays as a tyrant, not only to the other characters but to himself as well. A self-loathing man who fears the things fate will have him do, that he hasn't the power to control. Towards the end of the show, when everything is falling to pieces, the emotional drive appears to be very striking with the total break down of the character. Boothe turned Oedipus into this frightening yet pathetic leadership figure in the center of the stage.


3.)John Macintosh. The Performing Garage. New York. 1977.

This experimental approach to the story took many chances. Starting off with the "silent act", Macintosh entered the stage nude after his self-mutilation. For many moments he squats towards the earth, feeling the dirt in his fingers. As the show continues on, lines are added in. It is said that out of all the actors, Macintosh's performance deserved attention and respect. His line delivery was the best out of all and his risks worked out in his favor.



4.)Christan Blanc. National de la Region Nord-Pas-de-Calais, Odeon Theatre National. Paris, France. 1985

Trying to be shocking and different doesn't always work out, as seen by this performance. A traditional all male cast did not bode well for rendition of Oedipus. Blanc's acting was apparently so over the top and absurd it was completely unbelievable and almost unworthy of respect. His co-starts did not help carry him at all with their equal over-the-top acting style. You could not focus on the importance of what was being said due to what you were looking at.



5.)Ignaz Kirchner. Burgtheatre, Vienna. March 13, 1989.

This was a very violent and physical rendition of the classic tragedy. Kirchner added many levels to his performance. Not only was Oedipus a king controlled by fate and fits of anger, he was also a father and a husband who cared for his family. This performance brought something to mind that others of this kind lacked, humility. Oedipus, for all his flaws and complexities, was a person who loved.



6.)Billy Crudup. Blue Light Theatre Company. New York. 1998.

Billy Crudup and some of his fellow actors are what held up this performance of the well-known tragedy. With a dull staging and uninteresting set, it was the high quality performance Crudup gave that kept audiences in their seat. The mental struggle of the character came clear to the reviewer as he watched Crudup on his journey. Not only did Crudup keep the intensity and heaviness of the show, but he also added layers of "deadpan humor" to add texture to the role.



7.)Bill Christ. Denver Center Theatre Company. Stage Theatre. Denver, Colorado. 2005.

The performance by Bill Christ seemed to impress this reviewer greatly. Christ met all the expectations and then some. According to the article, Christ walked the stage with all of the history of the character inside him, as though he were actually Oedipus, walking the stage. There was never any question by reviewer of his performance lacking intensity or honesty. He melded with the scenes perfectly; being commanding and manly when needed but following the emotional ride as needed. The reviewer seemed very pleased with the performance.



8.)Neil Campbell. National Theatre of Scotland’s Young Company. Platform, Glasgow.2006

This performance of Oedipus Rex proves to audiences that saying the lines is not enough to engage the crowd, and that reciting them badly doesn't help either. It is clear, reading this review that people do not want to be "patronized" or belittled with attending the theatre. Oedipus Rex is a story that has been told by so many that there is no need to dumb it down for the common person. Neil Campbell should have spent more time with character development and voice work and spent less time speaking in formulaic tones, losing creditability.




9.)Ralph Fiennes. National Theatre. 2008

It seems that sometimes bringing big name actors into such a well-known play isn't always a good idea. According to one reviewer, Fiennes came off pompous, attempting to be very artsy and unique. It became apparent that you cannot just be a well-known face; good acting has to accompany that face as well. It is agreed though, that in the second half of the play, Fiennes pulled out the stops for the tragic scenes and played torment very well. In the end, it would seem that the audiences enjoyment of the show falls on to whether you are a fan of the actor or not, if his face is all you need to be content.



10.)Mark-Brian Sonna. Stone Cottage Theatre. April 2009.

Mark-Brian Sonna not only acted in the leading role, but directed the show as well. To this performance, Sonna brought in all the emotional intensity it required and made the audience believe who he was, a king. He played a ruler, not so much with command and defiance but with "dignity and regal bearing".




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