Set construction

roughly three quarters of my time at was as a part of the Buckingham Drama Club, a student-run organization. I was part of the student team that painted, gathered, and constructed the sets for the annual musical. The Drama Club organizes two productions per year, one play and one musical. The Board of Directors, set construction, costuming, gathering props, music for the show, backstage volunteering, and audition committee are all student-provided. Without the help and dedication of the students, there

will provide context for my designs and practical work evidenced in my journal and blog. In this project I will explore Juxtaposing themes, musical and dramatic styles and characters through research, planning and execution. We will also construct a set on one of two operas “L’Enfant et les Sortileges” by Maurice Ravel or “Lulu” by Alban Berg. The aims of the speculative project are to create a “stand alone” design that will fit in NO 1 touring theatres that takes account of the orchestra pit and a

Set designers orchestrate visual elements such as line, form, colour, mass, and balance. Ideally, the set should always help the performers by providing them with an appropriate background for creating mood and atmosphere and provide them with a workable apparatus. A good set design should fit the theatrical space to its best advantage and complement the costumes and the lighting, although a set design might also be crafted in such a way as to provide a deliberate contrast to the costumes. The set

To Kill a Mockingbird Review Introduction. On the 28th April 2011, I went to see a professional production of To Kill a Mockingbird written by Harper Lee at the 'Blackpool Grand Theatre'. The novel To Kill a Mockingbird is set in 1935 in Alabama, a story about innocence, knowledge, prejudice and courage. In the beginning the main character, Scout, starts out to be a very immature child not knowing the prejudice times around her, as the story goes on she gains knowledge of these times by

In the set design, we first see the use of layering, with a large cyclorama that has been painted onto a piece of scrim to allow for a visual effect at the end of the play. The painting depicts a beautiful scene of “sheep in a meadow in the fog”, with a wall to

slipping away. In this brilliant and fascinating witty calamity about today’s millennials, it’s everyone for themselves. “Really Really” I have seen slight comforting to say about young people and their ambitions. It proposes that they feel they have been set license to act in the least decent ways probable. Some spectators may come away sensation that Collazo is far too punitive a judge. Few, however, may want to claim with a confirmatory decision on

audience to interact actively through technology. The technology used in the production made the play unpredictable and entertaining. Nicole Cannon’s fluid acting, Director Kristin McCarthy Parker’s casting and blocking choices, and Set Designer Colton Spurlock’s set arrangements are key components that contributed to the success of the production. Nicole Cannon did a spectacular job at playing the role of Dorothy Kelly in the production through her effective dialogue delivery and body language

theatrical design set, Robert Wiene builds tension and drama to the scene and draws the views attention to the constructed nature of the film. The awakening scene in The Cabinet of Dr. Caligari is filmed in a theatrical manner, where the set is on a stage, with distorted curtains and secretive shadows. The scene is carefully centered in the middle to make the viewer less distracted of movement within the frame. The stage curtains work in favor of the framing and like the clever set; the costume and

the semiotics of The House’s production of Uncle Vanya (Andrew Upton’s adaptation). The designer, Steffi Wurster, creates an innovative set design which conjures up a variety of metaphors for the audience. His clever, melancholic design matches well with the dialogue and represents Chekhov’s play brilliantly. Wurster makes clever use of the large, confining set to strengthen the core themes of invisible suffering, claustrophobia and longing, as well as drawing out some much needed wit and comedy

felt as if you were in that period. I felt that using the black box theatre really fit better with the play, it was more intimate and more in line with the subject. In the previous paragraph, it really ties in with how the play is more intimate. The set design was very detailed since I arrived early, I could pay close attention to all the details in the kitchen, I appreciated, the weathered look of the kitchen, all the necessary kitchen accessories included. Everything seemed appropriate for the time