Role of the Scenographer

Discuss the issues raised and reasoning behind decisions made when attempting to contemporize your own version of Sarah Kane’s play Cleansed for stage. Comment on the professional production and how and why your work may have differed from, or mirrored, Katie Mitchell’s production and any considerations/adjustments you may have made to your performance after viewing

The paper I decided to do was on “Schindler’s List”. I have seen this movie four times and yet had not really noticed the many ways in which the director, Steven Spielberg, used the camera to emphasis a “million words”. It was interesting, when watching this film from this stand point, how I was able to see the importance of the way the director uses sounds and color to make some much significant points of a film.

The audience then became lost and frightened as there were no signs leading them to their next destination, once again forcing them to partake in the performance. This physicalisation not only successfully involved the contemporary audience, but demonstrated the necessity of physical composition to give audiences that real experience. This use of physical composition provided immediate reaction and emotional expression through action and contrast. These elements ultimately enhanced the mood and symbolism of the performance, allowing audiences to not only partake in the production on an intimate level but also on an emotional level. Another way in which mood and symbol can be created is through the use of complicité.

4) How did the work of established and recognised theatre practitioners, and/or the work of live theatre, influence the way in which your devised response developed?

“The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience 's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker, I know, is speaking clearly to the audience 'right now. '” This quote by English playwright and screenwriter, Lee Hall, from an essay he published in the Times of London, is central to the connection between theatre and motion picture technology. Since the rise of film in the early twentieth century, these elements have been influencing each other, and working together, to elevate the storytelling and experience of each medium and, in turn, better connecting them to the modern audience. The collaboration of these two mediums has resulted in a new form of theatre, known as digital theatre, that shows “theatrical entertainment does not have to be either purist (involving only ‘live’ actors on stage), or be consumed by the dominant televisual mass media, but can gain from the strengths of both types of communication.”(Masura). Throughout this paper, the intersection of theatre and motion picture technology will be explored through their effect on each other, in storytelling and experience, and the product of their collaboration—digital theatre.

The production elements of the show were magnificent. The costumes were great and helped to establish the childlike quality of the show and characters. During the transitions, the characters wore clothing that would best suit a child in play. The

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

Along with background music, sound effects play more of a role on the way we feel than many moviegoers think, and "although the function of sound effects is primarily atmospheric, they can also be precise sources of meaning in film" (Giannetti, 225). When the

Explain how the artists utilize lighting in the scene. How does the lighting affect our emotional understanding of certain characters? What sort of mood does the lighting evoke? How does lighting impact the overall story the filmmaker is attempting to tell? Describe the setting, including the time period, location, and culture in which the film takes place.

The lighting of any production is the most important part in my thought. the lighting puts you in the mood that you have to be in, in order to fully understand that part of the show and to actually live it like they do. For example, when they were in the park and it was raining, they had their umbrellas, and the background effects of rain made it really seem as if it was raining in the theatre. The lighting was always focused on every part of the stage, especially on those who were the main parts in that scene.

In the relatively short history of time-based installation, some development and changes have been made by a few artists influentially, such as Peter Campus, an American born artist, exploring a new area of new media and video art. To be specific, Campus’s works reveal a combination of video installation and single-channel video tapes. Influenced by his early career, as being a film editor, and receiving the degree of experimental psychology, Campus illuminated the idea of “staging” in a new way, and found a new relationship between the spectators and art pieces in 1970s. As follows, the essay is going to focus on the concept about how Campus’ installations approach the stage for an event by appropriately applying the effect of reflection as a basic function. Also, the essay will discuss how Campus’s works involve his body and the viewers’ during the period of the 1970s.

The lighting techniques used in the scenarios shall differ, while on one set the cinematographer and director shall play along with low-key lighting, the other scenarios base shall be that of natural light or hard light. The filters that shall be used in the scenarios shall only be set once the script is complete. There shall be a difference in décor, as both these scenarios will not be correlated. The same can be said about the costumes. The placement of the camera, the amalgamation of the type of shots required shall further help provide scenic realism and help derive a desired emotion. The goal is to understand these elements better by further research and practice.

Without light, the theatre cannot exist, that much is certain. As actors, as audience members, as technical visionaries, we are only as powerful as the light we are given. The extent to which we depend upon light in performance has changed dramatically throughout history, however, as light technology developed and expanded. In the history of performance, the artistic community is constantly victim to the limits of lighting technology, and exponentially altered by breakthroughs. From the utilization of candles and natural light to isolated light and electricity, the histories of illumination and theatre are virtually inseparable, and continue to push the boundaries of live performance.

In Kabuki theatre, everything that is seen on the stage is the result of a meaningful inner dynamic which completes the performance by the coordination of the actors with all the various components of the mise-en-scène and then by the traditions of all the various elements being assembled into an organic whole (Kawatake 1990, 247).

The puppet theatre turned out to be unique by its own unique puppets and the way it plays. The puppets are made out of fig wood. This kind of wood is very light, can flow easily on the water’s surface. The fig wood was cut remains, carved with stylized lines separately and then castigate, polished and decorated with different colored paints to punctuated the personality of each character. The shape of the puppets usually fresh, fun, comedy and symbolic properties. Currently, the prototype was based on folk, but the puppets are made fairly large, assembled in one body, a height of about thirty to forty centimeters. Making puppets is complicated, if not as a standard, then people could not handle or play it difficult. To complete a puppet, it should take a lot of steps, meticulously requires dexterity of the artisans (Lê). The head and the body of the puppet appeared on the surface, represented for the character, while the base is submerged to keep the puppet floating above and it also a place to installed the control system to moving puppets. People, who control the puppets, will stand in the water for more than one hour to control the puppets perform the plays. Sometimes, controllers will switch depends on the play’s length. Just like other kinds of