Presentation group 86
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Transcript of Presentation group 86
Design PresentationMIDSUMMER’S NIGHT DREAM
GROUP 86
CHRISTIAN GILL, MEGAN WOOD, MEGHAN MERIANO, TYLER TANNER
The DirectorCHRISTIAN GILL
Selecting the Play: A Midsummer Night’s Dream
As a director I would pick A Midsummer Night’s Dream not just because it is one of Shakespeare’s most famous plays but because I felt I could capture the whimsical and magical nature of the play and bring it to life in a new way that hasn’t been seen before. It’s themes of dreams, love, and the unknown are memorable and I feel as though this play breaths Shakespeare like no other quite does.
Casting the AtheniansKristin Chenoweth – Helena
Lee Pace – Demetrius
Anna Friel – Hermia
Tobey Maguire – Lysander
George Hearn – Oberon
Patti LuPone – Hippolyta
Len Cariou – Theseus
Timothy Dalton – Philostrate
Aaron Eckhart – Egeus
Swoosie Kurtz – Tifania
Chi Mcbride – Nedar
Robert Deniro – Spirit 1
Jack Nicholson – Spirit 2
With the Athenians I wanted actors who had experience working together. For the lovers I wanted actors who had been lovers before and for the older characters I wanted actors who had a great deal of character about them. Kristin Chenoweth, Lee Pace, Anna Friel and Tobey Maguire were actors who I felt have done a great job capturing what its like to be in a romance that is either forbidden or has obstacles. Chi Mcbride, Swoosie Kurtz, George Hearn, Pattie LuPone, Len Cariou, Timothy Dalton, and Aaron Eckhart are all actors who know how to portray characters with a sense of self respect which is ideal for characters who are supposed to lead. Robert Deniro and Jack Nicholson are, of course, Robert Deniro and Jack Nicholson. They will turn a role into something great no matter the size.
Casting the FairiesEllen Greene – Peasebottom
Shirley Douglass – Cobweb
Helen Mirran – Moth
Angela Lansbury – Mustardseed
Samni Hanratty – Fairy One
Caitlin Carmicheal – Fairty Two
For the Fairies I wanted consistently older actresses for the main ones. Ellen Greene, Shirley Douglass, Helen Mirran, and Angela Lansberry are all actresses who have a natural magic about them. Its something you just can’t put into words but it fits the style of the play. Samni Hanratty, and Caitlin Carmicheal are younger actresses who fit the smaller roles perfectly. They just look like fairies.
Casting the MechanicalsPeter O’Toole – Peter Quince
John Malchovich – Nick Bottom
Zac Efron – Francis Flute
Marc Pickering – Robin Starveling
Stephen Graham – Tom Snout
Travis Tope - Snug
For the mechanicals I wanted a mixture of well respected actors and very talented young actors. Peter O’Toole and John Malchovich are a couple of the best actors of the best sixty years and I feel they know how to bring their characters to life easily. Zac Efron, Marc Pickering, and Travis Tope are all excellent youthful actors and I feel they round out the acting troupe nicely. I picked Stephen Graham because he has excessive charisma.
Spine: Pursuing Love and Admiration
The basis for every action of the play is the pursuit of love and respect. Many of the major character want this. The four main lovers are after, of course, love while the mechanicals want admiration as they are play actors. So with every character’s wants clearly defined the theme of the play can be established and this will be built on in the style of the play.
Theme: Forbidden Love
The play is full of love and obstacles to love. Hermia and Lysander are forbidden to love each other and Helena is in love with Demetrius who doesn’t love her back. This leads to this overall message of the play that love always has obstacles to overcome. This is something that needs to be reflected by the style of the play.
Style: Expressionism
I want this play to be presented based on emotion rather than logic. The play, of course, has a plot and characters and motivations and all of that must be maintained but I want the overall design of the play to reflect what the characters are feeling more than where the characters are.
Directorial Concept
The themes of the play are forbidden love, magic, the unknown, attempts to control, and dreams. There should be this mood of uncertainty throughout everything as well as wonder. The overall look of the play should make the whole thing feel other worldly as though we are peering into someone’s dreams. The characters are all wanting for something that seems beyond them whether it is love or it is admiration. Ancient Athens provokes this feeling of myth already as it is home to much Greek mythology.
Set DesignMEGAN WOOD
Picking the Venue: Proscenium Arch
Proscenium arch stage type
Will create “4th wall” Non-realistic environment
Audience will be in different environment
Ease design constraints Set transitions easier
Seamless costume changes
Athens Concepts
Set determines location/time
Location: Athens
Time Period: Ancient Greece
Greek architecture sets the tone
Rolling panels from side stage
Panels will cover tree elements
Athens Concepts Continued
Warm color scheme
Gold/bronze tones
Romantic, warm feel
Classic Greek architecture
Fancy environment for royal characters
Forest Concepts
Panels slide away to reveal the tree at the center of the woods
Tree is the focal point of the scenes in the forest
Tree limbs are twisted to create environment:
Mystical
Whimsical
Dreamy
Forest Concepts Continued
Lights coordinated to affect set’s mood
Colorful set is non-realistic, dream-like
Tree limbs are twisted to create environment: Mystical, Whimsical, Dreamy
Forest Concepts – Finishing Touches Whimsical lights
hanging. Resemble: Twinkling Stars
Fireflies
Ferns elements on floor: Off to the side
Will not disrupt actors
Hanging leaves Elegant, breezy touch
Magical, Whimsical Tree
Central Tree: Ability to move throughout
play
Secured to rotating stand
Tree is: Central Image
Visual Metaphor
Tree Concepts Twisted tree branches
Mysterious, dramatic, and fantasy-filled
Fits with whimsical, dreamy look
Wedding Concepts
Original colors with added rich, royal colors
Beautiful adornments, happy decorations
Celebratory elements(True love has been found by all!)
Final Wedding Design
Design evolving Embellishments added to original
Athenian set
Adornments added to remaining tree fixtures
Solving set design problems Incorporating past elements
Adding small touches
Setting the mood Group wedding, romantic, happy!
Costume DesignTYLER TANNER
Costume and Setting
Most Costumes will Have an Elizabethan style
Most will be from the 1590’s era
Will have hints of Greek style
Costumes will be similar to characters normal outfit
But slightly different due to their in a dream.
The Athenians
All Characters besides the Mechanicals and Fairies
King Theseus and other royals will have a more Elizabethan style Costume to denote royalty
Hermia, Demetrius, and other sons and daughters will have a more modern costume to Denote Youth
Hippolyta will have a more exotic costume to Accentuate that she is from Africa
The Athenians (Cont.’d)
Towards End of Play, The Athenians will transform Costumes
Costumes will be White, Floaty Romantic Era Costumes
Floatiness will cause a more Dreamy like effect
The Mechanicals
Peter Quince, Snug, Nick Bottom, Francis Flute, Tom Snout, Robin Starveling
Portrayed in play as Comical but not very smart
Will be costumed in Commedia Del'Arte for the “silly clown” style
The Mechanicals (Cont.d)
When THE Mechanicals are in the “play within a play”
Costumes parts will be added
Such as Snout as “Wall” or Snug as “Lion”
Made out of thick cotton and dyes
The Fairies
Composed of the members of FairyLand
Ancient Greek Style
LED lights Will be added for Whimsical Effect
The Fairies (Cont.’d)
Costumes Made out of Mostly Silk and Leather
Lots of Greenery Added to accentuate the Earthy and Natural connection of Fairies
Costume Movement
The royals will have elegant , and large costumes since Fast movement is not as needed
The Fairies will be light clothing since they will be moving around a lot more
Mechanicals costume will be thick but flowing To accentuate Clumsiness
Extra Costume Effects
Mechanicals will have horns and bells That go off when a clumsy Action happens
Fairies will have Sparkles, Lights, and shiny clothes Lining to further accentuate the Whimsical Effect.
LightingMEGHAN MERIANO
Act 1, Scene 1
Fire with the torches will create a warm light, shadows will be well defined. Flickering since it is flame.
Once Lysander leaves, Helena waits at front center stage. The background fades to black and the spotlight is on her. This will allow for crew to change scenes.
Act 1, Scene 2
Same thought process as the Palace
Sunlight through the windows. Spotlights on actors
End scene with a fade to black
Act 2, Scene 1
Scene opens with the flickering of lightning bugs. Lit jewels in the trees to add dream-like effect. The dark blue background lighting.
Actors have lanterns that will light them up and cause the audience to follow them. Thus dimly and warmly lit.
Fairies have whimsical lighting in their costumes.
Scene fades to black as the party talks, then they exit with the lanterns.
The Flower
The flower will be lit and add to the dreamy atmosphere
Act 2, Scene 2
Fade into the scene with the dark blue, the tree jewels, the fairies glow, and the lightning bugs twinkle.
Titania enters with lanterns
Dim spotlight on each character as they go on and off stage.
At the end of the scene, spotlight on Hermia. Everything in background fades to black, and upon her exit, spotlight turns off.
Act 3, Scene 1
Scene starts by fading in the background lighting, dim spotlight on Titana.
The rest of the actors come on stage with lanterns, but instead of the lanterns creating the light, put a group spotlight on them. They will then put the lanterns down in a semi-circle so that way the spotlight can create the dim lighting.
Fade to black at the end of the scene
Act 3, Scene 2
Fade in, Spotlight on Oberon Puck enters with lanterns Scene backlit dark blue, gradually fades
into red during the sword fight scene. At the end of the fight, switch back to dark blue, no fade to increase effect.
Background fades to black. In the foreground, Puck goes to Lysander, the spotlight focused on them, and then the spotlight cuts at Puck’s exit.
Act 4, Scene 1
Fade the background lighting, dim spotlight on those asleep.
Everyone that enters will carry lanterns, while there is a dim spotlight on Oberon, who is in the back.
As Oberon comes to the front, spotlight brightens to make him the focus.
As group talks, spotlight focuses on them, then follows their exit.
Background fades to black and single spotlight on Bottom, cuts off at his exit.
Act 4, Scene 2
Torches and fire light the room Fade to black as the actors exit
Act 5, Scene 1
The palace is lit with soft, bright white light.
Little to no shadows At the end, Puck moves front,
center stage and as he says his last words, the background fades to black and he is left in the spotlight that cuts off while he is still standing there.
“So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.”