In this section of the portfolio, I am going to show the knowledge I have gained from researching the different elements of the production. This has given me more of an insight into how the process should start as a set designer, instead of going in with a blank state. Here is the research I have come up with in order for me to design the set.
The first element I researched was the period of the production. After meeting with one of the directors, I found out that she wanted to do a post-modern day performance.
Postmodern Theatre emerged from the reaction of modern Theatre. Majority of the postmodernist era, are focused highly on the fallibility of accounted truths, instead engaging the audience into reaching their own understanding of a performance. Substantially, postmodern Theatre raises more question than supplying answers.
As well as looking at the period, I have been able to look at some post modernist designers, in order to gain an insight into their work and see how the work has evolved throughout the years.
The first performance I looked at was Sarah Kane’s 4.48 psychosis. The designer which I looked at for this production, was Chantal Mark, which premiered in 2014. Here are the designs which I have found that shows me the style of postmodern Theatre.
(4.48 Psychosis , no date)
As some of the scenes in ‘Love and Information’ are based on mental illness, this has prepared me to know that anything aesthetically pleasing can be given a feel of foreboding if used correctly. The images which I have provided, has proved to me why a set designer and lighting designer need to have communication at all times.
The second designer I looked at is, Eugene Lee, for the performance of Caryl Churchill’s, ‘Drunk enough to say I love you.’ As ‘Love and Information,’ and ‘Drunk enough to say I love you,’ is written by the same playwright, I thought that is would be a good idea to look at some others plays she has written.
From what I have seen from Churchill’s plays, the set has been very simplistic. This one for example is of a sofa. However, props materialise from the set, and the further into the play we get, the sofa moves further away from the audience and gets lifted off of the space, until they are fully overlooking the audience.
Looking at the period has been hard, as when I have researched, nothing is validated into when postmodern Theatre arose. However, finding recent plays and looking at designers for the different performances has shown me that even the simplest sets are very effective if used correctly.
- Brantley, B. (2008) Drunk enough to say I love you? – theater – review. Available at: http://www.nytimes.com/2008/03/17/theater/reviews/17drunk.html?_r=0 (Accessed: 27 May 2016)
- NetWorks Rhode Island (2012) Eugene Lee. Available at: https://www.youtube.com/watch?v=dKLRhXH9zZw (Accessed: 27 May 2016)
- Keenan, S. (2014) Making a scene, onstage and off. Available at: http://www.nytimes.com/2014/04/03/garden/making-a-scene-onstage-and-off.html (Accessed: 27 May 2016)
- 4.48 Psychosis  (no date) Available at: http://www.chantalmarks.com/ (Accessed: 27 May 2016