Wednesday, August 6, 2008
Here's some stuff on set. The "happy days mound mechanic" one is for how to make Annie slip int the mound during the show, regardless of the final design, this should work. However, I'm having trouble with what to leave her to stand on after removing the first floor. A block (more than 8" deep) catches the swinging bit, and another swinging panel would require her to hold herself suspended while manipulating it with her feet. Any thoughts would be appreciated.
The "Happy Days front concept" is a rough sketch of what I was talking about in my post on the blog. Yep.
Friday, August 1, 2008
Hello everyone.
I jst finished getting through opening our venue for the festival, a process that took somewhere between 80 and 100 hours in the last 5 days. But things are calming down, so I will be in frequent contact from here on out. I will have time for a large post (and progress) every thrid day starting today, nothing every third day starting tomorrow, and a modest amount every third day starting in two days. so yes.
I was going to start with props, but that seems to be a moot point at this point, but I think I will still put up the images I found, along with a small musing or ramble next to each to help me get centered and focused for the rest of the post. So here goes:
Old newspapers for Willie. I've seen some great newspapers here in Edinburgh that come in a semi aged color. Much more convincing than anything I've seen in the US and spares us the hassel of trying to age it manually. One in particular called World News.
The gun. I see it as a sort of dainty thing, with a pearl handle perhaps. This is maybe a bit too old fashioned, but the feel is mostly right.
The medicine bottle. Old-fashioned. I see it as red, not sure why.
The hand mirror a simple silver mirror.
A boater hat.
I see the spectacles as old round-rimmed brass or copper glasses. The case can be a simple leather or cloth pouch.
I would love the forst of these hats for Winnie, but more likely a simple pillbox hat would be better. Color to be determined.
The parasol is an interesting conundrum(sp?). The fact that it busrts into flame makes it so. Thinking how to do that brought me to flash paper, which in turn brought paper parasols. On th first read of the description the of the parasol, I read "beak" literally, as in a bird's, and the idea amused me once I realized what was really meant.
Music boxes are exactly that.
The shopping bag is a simple cloth shoping bag. THe toothbrush I see as a wooden handled toothbrush. toothpaste should be mostly spent. Willie's hankerchief I see as red and white checkered. Nailfile, magnifying glass,and postcards are rather self-explanatory.
So, costumes. The big question that I am trying to resolve for costumes is whther or not they are complete outfits, or miss-matched jumbles of clothing (this goes as well for Winnie's accessories). I'm not sure. I want winnie to pop a bit, so I'm thinking a blue, yellow. or perhaps red. In terms of Willie's hair, I'm torn between fully shaved and bald on top; a horeshoe of hair that seems full under the boater. He should have suspenders (when wearing pants at least, if not simply attached to his boxers). Leslie, would you let me and the cast know what exactly is necessary for them to take as measurements? Thanks. That's about it right now.
Set. Now that we're in the '92 I'm really tempted to make the setting essentially the broken and overgrown rubble of a theater. Pipes off of one or two points from the hemp house (simulated of course), old lights strewn here an there (we have the axials, zooms, and there were a bunch of kliegles(sp?) in the CFA), some of which may work..., pieces of older sets or simply wood sticking out of a more conventional mouning of dirt and sawdust and sandbag sand (I'm trying to replace about 10 of them anyways with Second Stage money, so we could possibly use the ones to be thrown out), perhaps there is a tattered and stained pysch in the back, through which the back wall can be seen. That sort of thing. Other possible ideas are things more in line with the script; laying sod, in varying stages for different amounts of gree/brown. Or newspapers, sand, dirt, etc.
Some visual research:
Lights. I'm thinking that it will be fairly stark, almost simple lights. The question I have here is whether or not the light is directed (eg is it moring noon or night direction) or unidirectional. Also, the most important thing will, i think, be the backdrop. It will need to convey the feeling of expansive emptiness that is necesarry for the show.
That;s about it right now I think.
I jst finished getting through opening our venue for the festival, a process that took somewhere between 80 and 100 hours in the last 5 days. But things are calming down, so I will be in frequent contact from here on out. I will have time for a large post (and progress) every thrid day starting today, nothing every third day starting tomorrow, and a modest amount every third day starting in two days. so yes.
I was going to start with props, but that seems to be a moot point at this point, but I think I will still put up the images I found, along with a small musing or ramble next to each to help me get centered and focused for the rest of the post. So here goes:
Old newspapers for Willie. I've seen some great newspapers here in Edinburgh that come in a semi aged color. Much more convincing than anything I've seen in the US and spares us the hassel of trying to age it manually. One in particular called World News.
The gun. I see it as a sort of dainty thing, with a pearl handle perhaps. This is maybe a bit too old fashioned, but the feel is mostly right.
The medicine bottle. Old-fashioned. I see it as red, not sure why.
The hand mirror a simple silver mirror.
A boater hat.
I see the spectacles as old round-rimmed brass or copper glasses. The case can be a simple leather or cloth pouch.
I would love the forst of these hats for Winnie, but more likely a simple pillbox hat would be better. Color to be determined.
The parasol is an interesting conundrum(sp?). The fact that it busrts into flame makes it so. Thinking how to do that brought me to flash paper, which in turn brought paper parasols. On th first read of the description the of the parasol, I read "beak" literally, as in a bird's, and the idea amused me once I realized what was really meant.
Music boxes are exactly that.
The shopping bag is a simple cloth shoping bag. THe toothbrush I see as a wooden handled toothbrush. toothpaste should be mostly spent. Willie's hankerchief I see as red and white checkered. Nailfile, magnifying glass,and postcards are rather self-explanatory.
So, costumes. The big question that I am trying to resolve for costumes is whther or not they are complete outfits, or miss-matched jumbles of clothing (this goes as well for Winnie's accessories). I'm not sure. I want winnie to pop a bit, so I'm thinking a blue, yellow. or perhaps red. In terms of Willie's hair, I'm torn between fully shaved and bald on top; a horeshoe of hair that seems full under the boater. He should have suspenders (when wearing pants at least, if not simply attached to his boxers). Leslie, would you let me and the cast know what exactly is necessary for them to take as measurements? Thanks. That's about it right now.
Set. Now that we're in the '92 I'm really tempted to make the setting essentially the broken and overgrown rubble of a theater. Pipes off of one or two points from the hemp house (simulated of course), old lights strewn here an there (we have the axials, zooms, and there were a bunch of kliegles(sp?) in the CFA), some of which may work..., pieces of older sets or simply wood sticking out of a more conventional mouning of dirt and sawdust and sandbag sand (I'm trying to replace about 10 of them anyways with Second Stage money, so we could possibly use the ones to be thrown out), perhaps there is a tattered and stained pysch in the back, through which the back wall can be seen. That sort of thing. Other possible ideas are things more in line with the script; laying sod, in varying stages for different amounts of gree/brown. Or newspapers, sand, dirt, etc.
Some visual research:
Lights. I'm thinking that it will be fairly stark, almost simple lights. The question I have here is whether or not the light is directed (eg is it moring noon or night direction) or unidirectional. Also, the most important thing will, i think, be the backdrop. It will need to convey the feeling of expansive emptiness that is necesarry for the show.
That;s about it right now I think.
Saturday, June 14, 2008
Outdoor spaces
This was a really striking and theatrical clearning we found up by Veteran's Park. It's enclosed and has a lot of verticality with the trees in the background, which is different from what we had been thinking of, but I like it a lot. Especially the depth.
Claudia suggested parking lots...while logistically I don't think this is feasible, we still took a bunch of pictures of the Vine St lot, to use more as visual research. We both liked the idea of incorporating man-made materials, like concrete and pipe, etc.
Stairs that go to nowhere...
Though this area was completely wrong in almost every regard, we wanted to consider water (pond, creek, lake)...
More parking lot asphalt mounds...
Up at Long Lane there were some interesting combinations of construction-type materials and natural environment. That whole area was really nice and interesting, with lots to play with. However, the birds were singing and the whole place seemed generally full of life.
Probably our favorite. The HUMONGOUS field near Long Lane...seriously, it's enormous. The grass is really ridiculously tall and overgrown right now--we need to look into when it gets mowed, and what it would look like in Sept.
A nice big mound, already made for us! This is also up at Long Lane. There were a lot of cool places up there, but we want to go back and explore even more.
Thoughts?
--Annie
Friday, May 23, 2008
Welcome!
Hello, everyone! Welcome to the official blog for the Wesleyan Theater Department's 2008 production of Samuel Beckett's Happy Days!
This blog will serve as a forum for communication regarding design, rehearsals, research, scheduling, and general progress of the production.
To begin, here are the notes from today's production meeting:
SCHEDULE:
--Annie and Gedney will be available all summer to contact, to meet, etc.
--Ian will definitely be available for June and July, but may be in Scotland in August.
--Claudia will be unavailable the first week, first week and a half in July.
--First on the agenda is a meeting for close readings and analysis. This will take place during the first week in June.
--Prior to that (next week), Annie and Gedney will meet to discuss EVERYTHING, so they will have more specific ideas, questions, etc for the advising faculty and Ian.
SPACE:
--Have thought about outside: want a space that exists in and of itself, that provides some expanse that is separate from the Wesleyan campus (Long Lane has been suggested)
--We should never neglect the lighting instructions provided by Beckett regardless of where we perform
--We should contact Barbara Ally, Camilla, and Ed Chiburis this week about securing rehearsal space.
--We should also contact Barbara Ally & Camilla to discuss the availability of Zilkha and other alt. spaces on campus
If you think of anything else from the meeting, or anything you think would be relevant to these notes, please post them!
Post anything! Post everything!
Soon,
Annie and Gedney.
This blog will serve as a forum for communication regarding design, rehearsals, research, scheduling, and general progress of the production.
To begin, here are the notes from today's production meeting:
SCHEDULE:
--Annie and Gedney will be available all summer to contact, to meet, etc.
--Ian will definitely be available for June and July, but may be in Scotland in August.
--Claudia will be unavailable the first week, first week and a half in July.
--First on the agenda is a meeting for close readings and analysis. This will take place during the first week in June.
--Prior to that (next week), Annie and Gedney will meet to discuss EVERYTHING, so they will have more specific ideas, questions, etc for the advising faculty and Ian.
SPACE:
--Have thought about outside: want a space that exists in and of itself, that provides some expanse that is separate from the Wesleyan campus (Long Lane has been suggested)
--We should never neglect the lighting instructions provided by Beckett regardless of where we perform
--We should contact Barbara Ally, Camilla, and Ed Chiburis this week about securing rehearsal space.
--We should also contact Barbara Ally & Camilla to discuss the availability of Zilkha and other alt. spaces on campus
If you think of anything else from the meeting, or anything you think would be relevant to these notes, please post them!
Post anything! Post everything!
Soon,
Annie and Gedney.
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