Example 5 - Year 12 Diploma Theatredptheatre2016.weebly.com/uploads/1/5/2/2/15226070/... · Theatre...
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Theatre teacher support material 1
Example 5
Director’snotebookStudentC(SLandHL)
AMIDSUMMERNIGHT’SDREAMByWilliamShakespeareItislargelyagreedthatShakespearewroteAMidsummerNight’sDream(oneofhis37plays)duringthe1590sinEngland.Shakespeare,whoiswidelyconsideredtobethegreatestwriterintheEnglishlanguage,tookinspirationfromawidevarietyofsourcesinwritingtheplay.Itisacomedywhichfollowstheinterlockingeventsandadventuresofamidsummernight.
• Theseus,theDukeofAthens,iscelebratinghismarriagetoHippolyta,QueenoftheAmazons
• Hermia,ayoungAthenianwoman,wantstomarryLysander,butherfatherwantshertomarryDemetrius,whoHelenaisinlovewith.Thefourescapetotheforestwithhopesofelopingorconvincingtheobjectoftheirdesirestofeelthesameway.
• Agroupofamateuractors,themechanicals,meetintheforesttoproduceastageplaywhichistobeperformedfortheDukeandDuchess.
• Oberon,theKingoftheFairies,andhisQueen,Titania,havemetintheforest.OberonwantsTitania’schangeling(afairythathassecretlyreplacedahumanchild)tobecomehisknight.SherefusesandOberonsendshisjester,Puck,topunishTitaniawithatrickthatwillshameherintosurrenderingthechildtohim.
(Sources: Harrison,GB:“AMidsummerNight’sDream:Notes”,1937.P29 http://en.wikipedia.org/wiki/A_Midsummer_Night's_Dream)
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Example 5
Theatre teacher support material 2
What follows is a series of mischievous andmagical tricks through which love istransformed,misplaced, deceived, revealed and,finally,restored. Puckendstheplaybysuggestingtotheaudiencethat what they have just experienced might benothingbutaDREAM(p.91). AMidsummerNight’sDream is awidelypopularShakespeare play and one that has beenperformed and adaptedmany times. The RoyalShakespeare Company, for example, has stagedwell over 15 versions of the play in Stratford‐upon‐Avon since 1920 (Rebecca Brown, RSC,2008). Each one of these productions was notablydifferent–mostfamouslytheproductionstagedby Peter Brook in 1970. “This production wasimmensely influential and approached withdeliberateradicalism–abrilliantlylitwhiteboxsetreplacedthetraditionalprettyforestandtheactor’sbrightskills…spinningplatesandflightson the trapezewere inspiredby theacrobatsoftheChinesecircus”(Brown,RSC,2008). I really like the ideaof transforming aplay likethis into something new, drawing out the keyideasoftheplayandpresentingtheseideasinanew way. As I explore the play further I willidentify those ideas that I feelwillmostengagetheaudience.Themainideasoftheplayare: LOVE and MARRIAGE: Theseus and Hippolytamarry.Theloversareconcernedwithwholoveswho and who will marry who. Oberon andTitaniaquarrel over the changelingboy.Titaniaexpresses her love for Bottom, who istransformedintoaDonkey ORDERandDISORDER:TheorderedworldoftheAtheniansandthedisorderedworldofthemagicalworld. MAGICandtheSUPERNATURAL:Magicisathreadthatrunsthroughtheplay,alongwiththesupernaturalelementsofthemythicandfairyworld.“There’sthemagicoflove,themagicofthemorningdew,andeventhemagicofpoetryandart”(Schmoop.com,2008). ThesethemesareallideasthatIaminterestedinexploringthroughthedirectionoftheplay.MagicandthesupernaturalareideasthatIfindparticularlyexciting,drawingoutthe‘dream’oftheplay,contrastingtheorderedworldoftheAtheniansandthevibrantandunrulyworldofthemagicalwoodlandenvironment–aperfectsettingfortheconfusionsofloveandtheunfoldingcomedyofthemechanicals’rehearsal. Overthenext fewpagesIwillexploretheplaytextandhowIwouldattempttoconstruct theworldof theplayasadirectorandco‐ordinateperformanceandproductionelementstodevelopmyfinaldirectorialintentions.
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Theatre teacher support material 3
Example 5
InfluencesfromlivetheatreWhileresearchingthisplayIhavefounditusefultoreflectonotherliveperformanceIhavewitnessedasaspectator,andacoupleofthesehavebeenparticularlyhelpfulinstimulatingmyartisticresponse.TheproductionthathasbeenmostinfluentialisaprofessionalproductionofCSLewis’“TheLion,theWitchandtheWardrobe”stagedattheWestYorkshirePlayhousebytheBirminghamRepertoryTheatre.Thisproduction,dramatizedbyAdrianMitchell,verycleverlyandcreativelycontrastedtheaustereandbleakenvironmentofwar‐tornEnglandwiththemagicalandenchantingworldofNarnia,whichtheleadcharacteroftheplayLucy,discoversasaresultofhidinginawardrobe.ThisfantasticcontrastofworldslinksverywelltoAMidsummerNight’sDream,wherethelovers(Hermia,Demetrius,HelenaandLysander)leavethestructuredandorderedworldofAthenscollideswiththemagicworldoffairiesandsprites.InmyproductionIwouldwantthisjuxtapositionof2contrastingworldstobeverystriking.
Thecreationoftheenvironmentoftheplayisextremelyimportanttomyintentionsforthisproduction.Formyaudiencetofeelthattheyhavetrulywitnesseda‘dream’,IwantthemtobeplungedintomagicalwoodlandworldinthesamewaythattheAtheniansare.Sightandsoundarevitaltothis.
Thewar‐tornEnglandthatwasdepictedintheproductionof“TheLion,theWitchandtheWardrobe”usedsparse,simple,almost
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Example 5
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sterilestagesetstoshowthepovertyanduninspiringlifethatfacesthefamilyofchildren.WhenLucysteppedintothewardrobeatthecrucialmoment,thelightsfadedandclosedaroundLucyasshepushedfurcoatsaside–atthetransitionmomentthewardrobeslowlyrevolvedandinthesurroundingdarkness,enormousfurcoats,theheightofthestagewereflownintoposition.AsLucyslowlyemergedonthestage,thelightsslowlybrightenedtorevealthejaw‐droppingscaleoftheset.Snowbegantofall,andforthefirsttimeavividbluecycloramawaslittocompletethescene.Thisleapfrom‘reality’intothesurrealissomethingIamparticularlyexcitedaboutwiththisplay.
Theenormouscoatswerecolouredwhiteatthetop,graduallybecomingdarkernearthe
bottom.Thesurrealeffectofthesecoatsmakingaforestwasincredible.
Anotherhighlyinfluentialaspectofthisproductionwouldcertainlybethecreationofanensembleofactorsperformingtherolesoftheanimals,particularlythoseinthecompanyoftheWhiteWitch(playedbyMoyoAkande).Thewitch’ssecretpoliceisateamofblood‐hungrywolves,captainedbyMaugrin(OwenYoung).Theensembleofwolveswereportrayedasstealthy,alert,fearless,cunningkillers,andusedtheirbodiestocommunicatethesetraitsatalltimes.Everymuscleintheirbodiesappearedcommittedtotheirperformance,keepingtheirbodieslowtothegroup,theirlegspowerfullypropellingthemwhenalarmed,theirarmsandhandsdexterouslyguidingthemandgrabbing,clawingandlungingattheirprey.Thecostumesforthesecharactersweresurprisinglysubtle,suggestingawolf’scoatbyusingabodystockingwithprintedpatternson,andblendingthiswitheffectivemake‐uptodisguisewherethebodystockingstartsandends.Theircharacterizationdidmostoftheworkforthem,however,andtheireyeswerealarminglywide,alertandintense.Thepackofwolveshadverylittlescripteddialogue.(otherthanMaugrinandhislieutenant),buttheirpresenceandcommitmenttotheirrolesdominatedthestageandgavethewhitewitchfarmorepowerandpresencethanifshewasaloneonthestage.Thissenseofanintimidating,watchfulandevenalertensembleofperformerscertainlyconjuresasenseofmagicandmischiefinmymind,andIwouldcertainlylooktoemployasmallensembleofdynamicandflexibleyoungactorstoformmyfairyensembleinAMidsummerNight’sDream.Anensembleofagileandalmostacrobaticsprites,everwatchfuloftheunfoldingdrama,movinginandoutoftheaudiencespaceandleapingabovethestagewouldcertainlyaddtomymagicalwoodlandenvironment,particularlyiftheseactorsweredirectedtomovebeyondthestereotypicalviewoffairies(wingsandleggings)andbegintoexplorethemoresinister,darkandsupernaturalpresenceofthesebeings.(Sources:http://www.Birmingham‐reop.co.ok/event/the‐lion‐the‐witch‐and‐the‐wardrobe)
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Theatre teacher support material 5
Example 5
Anotherproductionthathascontributedtomydevelopingideasforstagingthisplayis‘TheImportanceofBeingEarnest’byOscarWilde,whichwasstagedatmyschool.Thisplay,writtenin1895,isafarcicalcomedywhichexploresthesocialobligationsofpeopleintheVictorianera.WhatIlikedaboutthisperformancewastherepresentationofwealthy,uppermiddleclasspeoplewhoarerestrictedbytheexpectationsofthesocietytheybelongto.Thewaythisiscommunicatedintheplay,throughpreciseandcontrolledmovements,immaculateelocution,gesturesandcostumeallappealedtomeasapotentialcontrasttothedark,unrulywoodland,whereanythingcanhappen,andwherethetransformationoftheloverstakeplace.TosettheAtheniansinanuptightandorderedsocietysuchasthiswouldthenillustratethecontrastbetweenthesetwoworldsevenmoreeffectivelyforamodernaudience.Icertainlywouldn’twantmyproductiontorelyontheverytraditionalandformalstyleofShakespeareanproductions,withtraditionalcostumesandelaboratesetpieces(whichbecameparticularlypopularduringthe1800s).(Source:“doubletandnose”,http://www.shakeyourspeare.blogspot.com)Itistheclashoftwoverydifferentworldsthathascapturedmyimaginationwiththisplay,andthefurtherapartIcancrediblymaketheworldoftherealandtheworldofthe“magic”thebetter!Formy‘real’world(theAthenians)Iwanttoplacethemintheveryrecognisableworldofthe1920s,alittlelaterthan‘TheImportanceofBeingEarnest’isset,butatimethatismoreeasilycommunicatedbythestyleofcostumeandset,especiallywiththeArtDecomovementthatissostrikingandformulaic,butalsowhentheworldwasalmostrediscoveringitselfafterworldwarIandfindingitselfalittlelost…(Sources:http://www.1920‐30.com,www.bbc.com/schools/gcsebitesize/history/mwh/usa/1920revision)
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Example 5
Theatre teacher support material 6
Creatingthetwoworlds
TheReal world(1920’s)Upperclass: Theseus HippolytaUppermiddleclass: Philostrate Egeus Hermia Helena Lysander DemetriusWorkingclass: PeterQuince NickBottom FrancisFlute RobinStarveling TomSnout Snug
TheMagicalwoodlandworld(supernatural)Mostpowerful: Oberon TitaniaMagicalPowers:
RobinGoodfellows/ Puck Peaseblossom Cobweb Moth MustardSeed TheFairiesThisgroupwillcertainlyfeatureasthecoreofmyintentionsfortheaudience,creatingthissupernaturalworld
Ordered Blackandwhite Strong,formal Clearhierarchy Theupperandlowerclassesnevermixsocially
Clean,routined Wellbehaved
Therealworldisstrippedoforder,formalityandgoodbehaviorwhenitmixeswiththemagicalwoodlandworld!
Mixedwithnature Highlysexual Potions,spells Mothernaturerules
Mischievous Raw,informal,unruly
Allworktogether Seasonsdictate
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Theatre teacher support material 7
Example 5
Myconceptanddevelopingmyideas
TheAtheniansTheseus,Hippolyta,Philostrate,Egeus,Hermia,Helena,Lysander,Demetrius.IwouldchoosetosettheAtheniansinthegoldenageofthe1920s,whenthewestwasfacingeconomicboomfollowingtheendofworldwarI.ThegrandandnobleworldoftheAthenians(whichincludesthelovers)wouldbecommunicatedbysemi‐formal,modernist,fashion‐simplelinesandminimaladornment,createdwithexpensivefabrics.The1920ssawaboominpopularculture,andawidespreadappreciationoffilm,music,literature,artandtheatre,andIthinkmyconceptwouldjustifytheuseofthemechanicalstoprovideentertainmentattheDuke’swedding.Thiseralendsitselfwelltothestructuredandwell‐manneredsocietytowhichtheAtheniansbelong,butalsoallowsroomfortheslapstickandmelodramaticbusinessbetweentheloverstotakeshape.Idon’tthinkthatremovingtheactionfromrecognisableAthensinGreecewillhaveanotabledetrimentaleffectonmyproduction.
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Example 5
Theatre teacher support material 8
TheFairiesForthewoodlandscenes,Iwantthefairiestocommunicatethelivingandbreathingworldoftheforest;agile,alert,intenseandwild.Byincreasingtheeerie,supernaturalelementsofthefairies,Ibelievethewoodlandbecomesamoresinister,unsettlinganddangerousplace,andmakesaveryintensecontrasttotheflat,blackandwhiteworldoftheAthenians.Iwantthefairiestospilloutintotheaudience,forthefairyworldtobeever‐present,watching,listeningandwhispering.Thefairieswouldbeaverytightensembleofperformers,highlyphysical,movingaroundthestagespacewiththequick,lightanddynamicmovementofacrobatsordancers.Theywouldappeartobealivingandbreathingforestthemselves,onlyscrapsofmaterialclothingbeingworn,withtheirbarefleshmarkedwithbark,dirt,leavesorstrangemysteriousdesigns.Thestylingoftheirhair,costumeandmake‐upwouldfallveryspecificallybetweenextremelystylizedandcompletelyferal‐thisgrouphasclearlyinhabitedtheforestworldformillennia,completelyisolatedfromhumancontact.Theyhaveanunnervingalertnessaboutthematalltimes,twitchingandstaringalmostlikewildbirds.OberonandTitaniaaremarkedbytheirdevelopmentabovetheensemble,lesswildintheirbehaviour,butmorepowerful,commandingandbewitching.Theyareintenselyprovocativeandhaveanelectricitybetweenthemwhichsendspulsesthroughthewoodlandworld. TheFairies
Mydesignteamwouldexperiment
witheyemake‐uptolinktheforesttheme.
Contactlenseswouldenhancethesupernaturalelement.
Ivywouldbeastrongtheme‐alwaysgrowing,wrappingitselfaroundeachoftheensemble.
Bodystockingwithsewnonforestadornments.
Avoidtheuseof‘wings’‐notraditionalfairycostumes.Theliving,breathingandseeingforest.
BodyArtIdeas
PossibleideasforOberon: Bodyart‐roots,branchesor
veins? Bodyshapefurtherdefinedto
showstrengthandpower Barefleshexposedtoenhance
thesenseofwoodlanddweller Costumetosuggest‘regal’or
‘emperor’.Sources
http://www.europeanbodyart.com/body‐painting/
http://body‐paint‐body‐art.blogspot.com
http://www.ekmpowershop27.com Collins&Nisbet,2010.P78.
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Theatre teacher support material 9
Example 5
RoughcostumeideastoinspirethedesignerTheAthenians Demetrius–Sonofaristocrats,favouredbytheDuke.IwoulddresshimformallyandechoasimilarstyleoftheDuke.
Lysander–ahandsomeyoungmanofAthens.Heisinlovewiththefeisty(andinmyviewmorefashionable)Hermia.IwouldmakehiscostumemorecasualthanDemetrius.
Theseus–TheDuke
Helena–IwouldprobablyaimforfurstobewornbyHelena,whoIfeellikestogivetheimpressionsheismoreclassyandelegantthanHermia.
Hermia–MuchshorterthanHelena,butfeisty.Iwouldaimforhertoappearmore‘fashionable’.
Iwoulddullallofthecoloursatthestartoftheplay–blacks,whitesandshadesofgreySilentmovieidea.Sources Altman,B&Co:“1920’sfashion”,1999.
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Example 5
Theatre teacher support material 10
RoughcostumeideastoinspirethedesignerWorking‐classamateuractorsContrastingshapesandsizestomakethemevenmorecomical. Bottom–theweaver:Shabbyhat.Dirtyshirtandapron.Ahighlycomicalcharacter,loudandoutspoken.Transformed:he’sgiventheheadofadonkey.
Snug–thejoiner:Bluebutton‐upover‐shirt.
TheMechanicalsEachcharacterwouldhaveonesamplepropofthe1920seratoindicatetheirprofession. TomSnout–tinker:Bluedungareesanddirtyunder‐shirt.
FrancisFlute–Bellowsmender:“Granddad”styleshirt.
The1920sstyleoftheAtheniansisechoedbythemechanicals,butthedifferenceintheirsocialstandingisindicatedbythe1920s‘worker’costumes–frayedanddirty‐thecostumesaresimpleandhard‐wearingSources: Altman,B&Co:“1920’sfashion”,1999.
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Theatre teacher support material 11
Example 5
Fleshingoutmyideas Thedesignfortheactualset
wouldbecreatedbyadesigner,butmyvisionasadirectorisreliantontheenvironment.Theseideaswouldinfluencethefinaldesignsignificantly.
TherealworldoftheAthenian Themagicalwoodlandworld Thefairyensemblemovein
andoutoftheaudiencespace. Thecentralspacewherethe
twoworldscollide! Woodlandworld Theprosceniumarch
representsaninvisiblewallbetweenrealityandthesupernaturalkingdom.
Iwanttoseethefairyworldoperatingonnumerouslevels,tohavethefairies(especiallyTitaniaandOberon)lookingdownontheworldbelowLevelswouldalsoallowthesupernaturalensembletoclimb,leapandswingfromthe“forest”Creatingtheforest
Scaffoldtower Coveredwithhardboardand
material Painted,texturedand
decorated.
MyproposedsetdesignThestarkblackandwhitestageprovidesa“cinemascreen”inwhichtherealworldexists.
Centralplatform Thesolidwhitecycloramacanbelitwithtexturedgobostoenhancethesupernaturalscenes. Stagepaintedblack. Thethruststageprovidesaplatformonwhichtherealandthesupernaturalworldscollide. Audiencearesurroundedbythesupernaturalworld.
Theprosceniumarchiscoveredbyscaffoldingwhichcreateslevels,platforms,ladders,ropesandlook‐outsfortheinhabitantsofthefairyworld.Thisstructureisthencoveredwithatexturedlayeronwhichtheforestispainted,sculptedandcreated.Swathesofmaterial,nettingandgauzeareusedtocreatearealisticcanopyofleavesandtendrils,throughwhichtheever‐presentfairyensemblepeerdownatthecomingsandgoingsofthe‘real’world.Thescaffoldplatformscreateaplaygroundforthemischievousfairiestoswing,climb,chaseandleap.Twinklingfairylightsarehiddeninthetreesandarelitastheaudienceenters.
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Example 5
Theatre teacher support material 12
Thestarkwhiteofthecycloramawouldprovidea“moviescreen”,symbolisingtheworldoftheAthenians.TheblackandwhiteworldoftheAthenians,asglamorousasthe1920smoviestars,areatfirst2dimensional,farremovedfromtheraw,wildandunrestrainedsupernaturalwoodlandworldofthefairies.Astheloversleavetheglamourandstructureoftheir1920smovieworld,venturingintothedarkandmysteriouswoodland,theyfindtheirworldscolliding,andthechaosthatfollowsgraduallypeelsawaytheglamourandformalityoftheirnativelandandinducesraw,wildandunrestrainedbehaviour.Iwouldalsocommunicatethisprocessthroughcostume,action,useofvoicesandcharacterisation.Thiswouldtakeplaceontherailedthrustplatformaroundwhichtheaudienceareseated,immersedand,attimes,implicatedintheunfoldingmadness!Themechanicalswouldbepresentedasworkingclasstradesmenwhohavegottogethertoprepareandrehearsefortheirproductionof‘themostlamentablecomedyandmostcrueldeathofPyramusandThisbe’.ThecomicelementofthesecharactersissomethingelseIwouldwanttobringoutwiththesescenes(whichthescriptalreadydoesquitebrilliantly).Iwouldhopetocastsomeactorswithagoodabilityforclowningandphysicalcomedy.Thegroupwouldbeanassortmentofshapesandsizes,andthisoddmixtureofunlikelyactorswouldaddtothecomedygreatly!ThecostumesforeachgroupwouldcertainlyhelpincommunicatingthecharactersandintoevokingtheeraandenvironmentsIhaveidentifiedformyintentions…
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Theatre teacher support material 13
Example 5
HowIwoulddirecttheplaytocreateanimpactMomentone‐theopeningAlthoughnotspecificallyreferencedinthescript,Iwouldchoosetoopenmyproductionwithashortprologuetoestablishthesupernaturalworld,ever‐presentthroughouttheentireplay,and(inmyproductionatleast)everwatchfulofthe“real”world.Iwouldwantthefairyensembletoarrivethroughtheauditoriumandinvadetheaudience’sspace.Asthehouse‐lightsdim,Iwouldwantlights,concealedinthebranchesoftrees(constructedaroundandoverthetopoftheprosceniumarch)tobegintwinklingbrightly,asathickfogofdryicemakesitswayfromtherearoftheauditoriumtothestage,adeep,sustainedandboomingrumblebeginstoshakethewallsofthetheatre.Ominous,mysteriousandeerilymelodicmusicbeginstobuildastheensembleoffairiesmovesthroughtheaisles,twitching,eyesfixedonthemembersoftheaudience,theyarealertanddynamicintheirhighlyphysicalandanimal‐likemovements.The“trees”eithersideoftheprosceniumarchbecomebrighter,litfromunderneathwithvibrantgreen,whiteandyellowlighting.
Stage Platformoverthestage/prosceniumarch
Lightsilluminatethetrees,upwhichtheensembleclimb.
Smokebillowsin,followedbytheensemble.
Thevividandenchantingtreessparkleabovetheaudience,astheensemble,carefullychoreographed,whisperingandgigglingandbehavingmischievously,begintoclimbthetreesandexploretheirhomes.
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Example 5
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Puck,themostnimbleandspritelyoftheensemble,climbstothetopofthetrees,andontoaplatform,whichtravelsacrossthetopoftheprosceniumarch,throughthebranchesandcanopy,tosettleinthecentre,lookingdowntheemptystagebelow.Therestoftheensemblemakethemselvesconfortableonbranches,ledgesandropes,andleanout,transfixedontheemptystage,wherethefirstsceneoftheplayisabouttobegin.Themusicslowlyfades,asthelightingontreesdims,leavingonlythetwinklinglightslikestarsinthecanopyabove.Thisatmosphereandenchantingopeningtotheplayshouldhopefullysetthemoodforallthatfollows,providingtheaudiencewithaconstantfeelingofunease,withfaceslookingoutofthebranchesandengagethemallinwhathappens.Ibelievethiswouldhaveanimpact.Momenttwo‐Actthree,SceneoneAsTitaniasleepsonabedofflowers,thecraftsmenmeetinanearbygrovetobeginrehearsingfortheirplay.Astheybegintheirrehearsal(followingsomedifficultiesincastingtheroles)Pucksneaksuponthem.Heisdelightedtohavesomanyfoolstoentertainhim.Hedecidestowatchandparticipateinthefun.It’sclearthatthemechanicals’playisgoingtobeadisaster,andwhenBottomstepsoutofthescene,PucktransformsBottom’sheadintothatofanass.Whentheass‐headedBottomre‐entersthescene,thecraftsmenarehorrified:Quince:Omonstrous!Ostrange!Wearehaunted.Praymasters,flymasters,help!(Shakespeare,W:“AMidsummerNight’sDream”,p.49)Theyrunfortheirlives,anddelightinginthemischief,Puckchasesafterthem.Bottom,perplexed,remainsbehind.IndirectingthissceneIwouldwanttheaudiencetoenjoythecomedyofthemechanicalsandtowitnessthemischiefofPuckandhisensembleandtheywitnessthemagicaltransformationofBottomintoahalf‐donkey.Thisshortsequenceisprobablythemostwellrememberedpartoftheplayandoneinwhichtimingandcomicreactionareessential.AsQuince,SnoutandBottomdiscussthecomplicationsofcreatingmoonshineandawallintheirproduction,Iwouldhavetheactorsstoodontheraisedthrustplatform.Asthe‘director’ofthePyramusandThisbeplay,PeterQuincewouldbesatupstageonhisshort,woodendirectingstool(whichhecarriesonwithhim).Starveling,thetailor,wouldbesatdownstageright,withhislegsdanglingoverthesideofthestage,ashesewsasimpleitemofcostumefortheperformance.Flute,thebellowsmender,wouldbesatonthefloorup‐stagecentre,nexttoPeterQuince.Flutewouldbedirectedtocarryanaccordion,whichheplayseverytimethemechanicalswanderthroughtheforesttosetuptheirrehearsal.Snoutwouldbesatstage‐left,atthetopofthesetofstepsleadingdownintotheaudience.Snugwouldbedirectedtostandup‐stageleft,wherehechewsonsomeunknownsubstancewithhismouthopenashedoesformanyofhisscenes.Bottom,ofcourse,wouldbecentrestage,gesturingenthusiasticallytoeachofhisfellowcraftsmeninturn.
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Example 5
Snout:Doththemoonshinethatnightweplayourplay? (p.47)AsSnoutdeliversthisline,thefairyensemble,whohavebeensilentlywatchingtherehearsalfromupintheirbranches,begintocometolifealittle,andleanforwardwithinterestandamusement.AsQuincesettlestheactorsdownreadytobegintherehearsal,thestagelefttreeandbrancheslightupalittleasPuckappearsatthelowerplatforminthetree.Puck:Whathempenhome‐spunshaveweswaggeringhere…Delightedtoseethecomicalgroup,Puckspringslightlydownthetreestructure,eagerlypursuedbymembersofthefairyensemble,equallyasenthralledandamused.Bottom:Buthark,avoice!Staythoubuthereawhile,AndbyandbyIwilltotheeappear(Shakespeare,“AMidsummerNight’sDream”,p.49)AsBottomdelivershisline(AsPyramus),hecrossesstageleftandtrotsdownthefewstepsintotheaudience,tosithimselfatthebaseofthestagelefttreeofthestructure.AsQuinceandFlute(asThisby)carryontheirdiscussionaboutthecorrectuseoflanguage,Puck,havinggiggledhisline:“AstrangerPyramus,thane’erplayedhere”,skipsaroundtheseatedBottom.AtPuck’scommand,thefairyensemble,whisperingamongstthemselves,wouldpullaswatheofmaterial(suggestingaleafyvineorcurtainoffoliage).PuckwhispersandgesturestowardstheimmobilisedBottom,whilebehindthefoliageveil,thefairyensemblewouldswiftlydressBottominhisdonkey‐transformationcostume…
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Example 5
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Bottomwouldbedressedinahatwithassearsattachedandhishandsslippedintoadaptedglovestorepresentdonkeyhooves.TheensemblewouldswiftlyrevealBottomfromthebehindthematerialandpullthedazedandconfused(andblissfullyunaware)BottomtohisfeetandpushhimtowardsPuck,whowouldleadtheactorbackontostageintimeforhisline:Bottom(AsPryamus):IfIwerefair,Thisby,Iwereonlythine.
Costumeideas Bottom’stransformationintoanass
Oversizedearsattachedtohat
Gloveswithhooves IwoulddirectBottomtousecomicperformanceskills(exaggeratedphysicalandvocalelements)tocompletethetransformation.
AsQuincecriesouthis“Omonstrous!”line,theotheractorsreactwithhorror,runningaroundthestage,confused,terrifiedandbumpingintoeachother.Theycollecttheirbelongingsanddiveoffthestagescatteredinalldirections.AsPuckdelivershis“I’llfollowyou”lines,achingwithlaughteranddelight,heleapsafterthemcausingfurtherchaosandfearashechasesthem.Ibelievetheimpactofthistransformationwouldengagetheaudiencethroughcomedyandsuccessfullyreinforcethesenseofthemagicalworldinwhichtheentirecastfindthemselves.
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Example 5
MydirectorialintentionsandintendedimpactforanaudienceIwouldaimtocreateavividandmagicalproductionofAMidsummerNight’sDream,challengingaudiencepreconceptionsandhopingtoconjureamemorableandengaging‘dream’.Intransformingmyproductionforthestage,designelementsunderpinalloftheaction,andcontributetoimmersingtheaudienceintheenvironment,inthesamewaythattheAtheniansfindthemselvesplungedintoasurrealandsupernaturalworld.Set,costume,lightingandsoundwouldbeessentialinmyproduction,supportingmyintentionofengagingandmovingtheaudience,playingontheirreactionstocomedy,excitementandwonder,makingthemfeelunsettledthroughtheuseofskilledandcommittedperformers.Byestablishingthe‘real’worldoftheAtheniansasastructured,orderedandcontrolled1920sworld,theaudiencewillfeelevenmoreunnervedandunsettledasthecastoffairyworldcharacters,workingtogetherasawatchful,alertandmischievousensemble,leapingthroughthelushandwonderoustreestructuresandcanopy.AstheaudiencewitnessthedevelopingstoryandcomicandconfusingeventsIwantthemtofeelevenmoreimmersedinthestoryandmoreengagedandresponsive.Ibelievethatmyideasforthestagingofthisproduction,thecreationofanimmersivedream,mydirectionofacommittedandskillfulcastofactorsandmyblendingofproductionelementswouldcontributetotheeffectivestagingofthischarmingandtimelessplaytext.