Scenic

WHY?  (July 30, Part 1)

Karen's Whys:

1. To celebrate our theatrical heritage.  The idea that these plays
are older than Christianity always blows my mind a little.  It has to
be a lot more than luck that we still have these scripts with us.

2. To share that heritage with our students and campus community.

3. I love a good fart joke as much as the next person.  Since it is a
Greek play we get to dress up fart jokes as high culture. I love that
too.

Denise's Whys (in response):

1)  Yes, exposure to the Greeks and the theatre history that affords our students and audiences.  I'm one of those people who has to look at history in a current perspective, what we learn about ourselves,  so I like the piece because it reminds me of how we spin words (politics, and talk shows about politics) and competition (like the food show example you sent, which is GREAT!) ... more on that in my next email response...  

2)  We really needed a comedy.  

3)  I love the opportunity for theatricality the play provides.  I think in our discussions we are really getting some great ideas going with this. 

4)  Extremely flexible casting. 

Inspirational Videos: 

Human Anime

And when discussion turned to cooking show battles and percussion.

Korean Production: Stomp Meets Iron Chef

It is important to note that I am responding to the "Adults being silly" aspect of these two videos.  The fact that they are both Asian sources is coincidental.  So even though "Japanese Game Show" is part of my guiding image, it is the Adults Being Really Silly aspect that interests me.  In the US this kind of game show is for child participants and a children's or tween's audience.

First Ideas:

The play unfolds in two parts: Journey and Contest. So it follows that the set should serve each of those functions.

Journey:

The path around the pond is circular allowing for unlimited travel.  When it is time to cross the pond, a diagonal path will be used.  The center is about 3' deep covered with taught fabric strips.  Frogs can appear/disappear through between the fabric.  The boat actually rolls on the bottom of the pond and pushed through between the fabric as well.  The boat is bottomless and is propelled forward by the walking motion of the actors. I hope that we can accomplish entrances "under water" so the froggy entrances can be a surprise.

I like the thrust configuration with the circular feel, it reminds me of the Greek amphitheaters. 

Contest:

The contest in the underworld has the fabric removed.  The set now feels more arena like, allowing the combatants to hurl insults and energy across a void while the judge can sit between them at a higher level to observe.  Each of the contestants will have a cooking battle station.

 

So the contest will have elements of a cooking battle, possibly escalating into a food fight, and a drum battle.

Both of these arrangements require a slam-able door in a raised position putting the person behind the door in the power position.  Think gate-keeper in the Wizard of Oz.  Smaller opening windows in a larger door would be desirable. 

Vector works Sketch: Real Space (July, 30  Part 2)

A few views of some rough 3D work to test the ideas in the space.

View from Center Seating Section:

Already much has changed.  The square has been replaced by a rectangle.  This shape for the pond takes advantage of the existing architecture of the traps and improves the sight-lines greatly from the side sections.  On the house right side you can see a seating block for the chorus to join the audience.  Even though the goal is to blur the line between audience and chorus for the competition, I feel seating that is clearly part of the set is need to avoid audience members who are seeking better seats ending up in the chorus' planned position. Each section has a seating block.

View From House Right:

Here you can see a bit better how the widened pond improves sight-lines.  Also, the increased floor space in the "pond" makes it a more usable space in the competition portion of the play.  There is also seating blocks in the pond.  They are slightly more evident in the next image. 

Wire Frame View Elevation From House Right:

Still very much to do.  There is at this point no visual charter established at all. 

Images to Ponder (July 30, Part 3)

The below image could be adapted for our use.  Look at how the audience is part of the scenery. Lots of sparkle, and little lights. And best of all people dressed as animals!

Video containing the two above images.

 

Oversized Props

Getting wet and messy.

Doors can be funny . . . (July 31)

Laugh-in clip  The variety of shapes, sizes, and locations is a lot of fun.  I also like that their locations are not always obvious until opened.

I like the physical relationship of the person inside being placed higher than those outside.

A dutch door seems obvious.  Top can be opened for conversation, but physical path is blocked.

Meeting Notes 8/1:

1. Need to downplay gameshow elements during journey part of script.

2. Model will be built to aid visualization during rehearsals prior to the arrival of structure. Provide step unit alternatives to aid next meetings discussion.  Also need to create director's print of ground plan.

3. Use super soaker as "little oil jug."

4. Scale for contest will be costumes in two chorus members.

5. Boat will be "propelled" gondola style. Boat will be like a kids cardboard box car worn by Charon.

6. Strips of fabric will run over pond diagonally from down left to up right.  Any movement in the pond will need to move parallel to the fabric in the spaces between the strips.

7. Gather kitchen utensils and cookware for rehearsal. Consider various methods of launching marshmallows as weapons.

8.The need for oversized utensils is tentative.

9. Deb needs early warning on all practicals.  Also need to work out hanging positions of "studio audience" elements.

10. Object to be used for "whipping" TBA

11. Manner of conveyance for the corpse TBA

12. A chair or seat of importance is needed for contest judges. Look for size joke possibilities in regard to Pluto's demotion from planet.

Image used in today's meeting.

New Ideas: Aug. 6

A rough sketch showing new architectural elements that are sort of historical and nautical. Floating studio elements are now windows that give the impression of piazza.

 

A color block rendering of the main wall of the set.

The color scheme here is a little beachy, but I like the underworld as summer resort idea.  The towers need to move away from flesh tone, and I'd like to goose the saturation a bit. Naturally, I will need to work carefully with Sue on this.

Notes:

• Possible windows to open are the round windows, the squares in the left tower, the sun.  We do not need all the locations to open. Once we decide on what opens we can work out the platforms to accommodate actors.
• The pale blue color is not plexi or other transparent material.
• I would like to have some translucent elements that are back lit and can change color when we change location. This would also be true for the window elements over the audience.  We may choose to change some elements into score keeping devices. 
• Game show light wish list. 

1. I would like the borders between the color waves to light and chase. 
2. I would like the outline of the door trim (upside down "U" shape) to light. Should have the ability to flash.
3. The outline of other architectural elements, really I think it would be impossible to do too much. 

Revised Ground Plan with Rough Dimensions  (Aug. 7)