Set Design Reflection:
 At the end of this set design project I have realized that my final scale model will change significantly from my initial ideas. At the start I had some ideas that I thought I would be able to create but throughout the process of actually making the scale model I found something’s did not work and I had to change them.

A second thing I learnt is that there is a lot of process before actually making a scale model. At first I thought the set design would be the most difficult but in the end I thought the designers grid was most difficult because there was a lot of things I had to include and I had to think ahead.

A third thing I learnt throughout this set design project that you have to have a proper understanding of the play and the significance of proper characters. I understood the character Mother Courage so I was able to link her character to the set.

Next time I could approach this differently by having more ideas on the different scenes I could do to scale model. And I could look at the significance of scenes in more detail to get a better Idea of the play.

Set Design

After i do my set design of Mother Courage by brecht and give a feedback on my work and i learned many thing in doing this set design. Here's is my set design that i made, i choose the last scene in Mother Courage because it has more things happen at the end.

 

 



 



I learned something from doing this Set design in Mother Courage is that to become more CREATIVE on the props that be used in the play the colors and style which is really important, and I learned to be WIDER THINKER because I make it like choosing the good scene in mother courage and make it simple scene just by putting the main idea in the scene that I used to make as my set design. I also learned CHANGING IDEAS because at first I decided to make a big stage, big cart to put I think it doesn’t work and it’s too annoying to have a big stage and cart where the audience can’t see the whole thing so I change it to make it a normal stage and cart so that it is really good to look at on stage and also the color of stage where at first I want it brown but I change it to black by analyzing the play.

 In improving my set design next time the first thing to do is to make it ANALYZE so that it is really clear to me what I’m going to do, and make the ideas SPECIFIC so that there is no difficulties in doing set design and I need also to be CONTENTED on what I choose that I don’t want to waste time changing many things that can affect all things set design and make my idea finalize before I started making my set design so that I can’t forget everything include in the scene.



 

 

 

 

 

Paragraph

                This set design is for scene two in Brecht’s “Mother Courage” which takes place inside the general’s tent. The design concept behind the set is the idea of the timelessness of war. For that reason design elements from a variety of time periods and geographic locations have been included to show that war and conflict have happened throughout the world and history.

                In the design most of the stage is under fabric which is suspended above the stage to represent the general’s tent. The fabric is a deep purple which has historically been associated with European monarchy, who fought in countless wars, bleeding their respective countries dry for land, resources, or to save their own crowns. Hanging down from the tent is a transparent section of fabric that separates stage left and stage right which have been fashioned into a kitchen set-up stage right(where Mother Courage works), and the general’s office stage left. The transparent divider physically separates the two sections to show the distinct positions of high ranking military officials versus the somewhat lowly positions of military cooks and attendants; however its material is transparent to show that the two sides are still very aware of the presence of the other and are still somewhat dependent on the other.

                In the kitchen set-up three distinct time periods are represented in its design. The walls are covered in tan striped wallpaper which is a classic element from 1970s home design. The neutral colors also harken back to the natural elements necessary in a kitchen. The metallic pots, though a contemporary staple in kitchens, first appeared during the Bronze Age and thus recognize its rich history that was also touched by war. The stove is a retro piece from 1950s Americana design.The stage left section of the general’s tent also has three distinct elements from periods in time. The silk screen wallpaper is from representative of Chinese silk that was traded on the Silk Road. Another use of silk is in the general’s luxurious seat, except this style comes from 18^th century France and the court of Louis XIV. Attached to a panel on stage left is an animal skin that comes from the design of medieval gathering/banquet halls.

                Above the suspended tent is a giant clock styled like a Victorian pocket watch that literally stares down at the stage and audience, giving a visual representation of the passing of time and continuation of war. Another element of time comes in the form of the sign post, downstage right, which literally signposts the audience through projections which show the name of the proceeding scene and the upcoming scene as well as the time remaining in the production. The money on the table in the general’s office represents the corrupt wealth that comes with war. To bring home the idea of the timelessness of war a speaker on the back wall of the stage will constantly be broadcasting snippets of radio broadcasts of current affairs and wars. By using the current news the audience will realize that war is happening now and will continue to happen unless something is changed.

Reflection : Mother Courage Set Design

After finishing our set design project for Mother Courage by Brecht, we have time to reflect on the project. This was a new role for me so I learnt a lot of different ways of creating and approaching set design. It went into more depth than what I thought we would after what I learnt from previous plays like our commedia piece for example.

What I learnt:

• There are many different ways I can approach intial drawings & scale model drawings. They are vital for me to know where to place things, why to place them there, what stage to use... 
• There is a lot more to do than just have an idea, relate it to the performance concept and get together a set. Measurements need to be done, placements, storyboards, understanding script, scalemodels....
• Throughout the project, my ideas will change all the time to more I try out or research things. 

How the approach could be improved for next time:

• i would try out google sketches instead of hand drawing because I am not the best with drawing and I think google sketches would look good & professional, which can come in handy for my PPP
• I would research more about set design for other productions of the same productions i am doing to get a wide range of different techniques & approaches for the best altogether idea. 

Reflection; Set Paragraph, Set Pictures

Reflection

Earlier in the year we did a project on set design and I chose to study Edward Gordon Craig and Josef Svoboda. Learning from these practitioners formed the basis of knowledge about set design, however after working in the role of set designer for a proposed production of Brecht’s “Mother Courage” I’ve gained insight into the world of design.

                I learned the importance of spatial awareness. I built my set out of the materials I had available therefore the relative sizes were dependent on my materials as opposed to the physical dimensions of the stage. In the future if I were to redo this aspect I would evaluate what size I want before doing the scale model.  Additionally because I used many patterns in my design to represent the different time periods, the stage space became very visually cluttered so in the future I will balance the bold design textures with solid colors.

                On an organizational level I have learned to manage my time effectively because designing and constructing are two different elements. In building my scale model I had to wait for glue to dry, materials to become available, and designs to take shape in my mind. That leads me to another point, this project has taught me to be more open-minded with my options; for example I wanted to have silken wallpaper, however I only had patterned paper that I used as a representation of the silk.

                The most important thing I learned was how set can be used to enhance the audiences’ understanding of the play and it can align itself was the performance concept. Because the theme of my particular production of “Mother Courage” was the timeless of war, the set was the physical manifestation of that idea by using furniture and styles from different time periods.

Set Paragraph

(To be inserted tomorrow when the file becomes available to me..)

Week 31-32: Finishing the Mock PPP, the Mother Courage Project and pick an RI topic

I have been really busy the last couple weeks with the PPP and other homework. This blog entry will different from my other posts because it has three main goals: reflect on the PPP and Mother Courage Project and begin work on the RI. 

Reflection on PPP

I really liked my idea and the stimulus I worked with and I found it really cool to be able to make up an entire piece, although it was difficult. I kind of surprised myself by picking a very dark topic, but I was pleased that it had a deep meaning and purpose. I also like how I had a new style of theatre, and that I found a new use for Shadow Theatre. Although I did leave most of the work till the last minute, which meant that I was unable to address some key topics such as music and acting style, and add as many drawings and annotations as I wanted. 

This quote by Dr. Seuss almost summarizes how I feel about my PPP, except the words "cry" and "smile" should be switched.

Things to Improve on my PPP's

• I need to allow/make more time for it, I came up with  a good idea but I wasn't able to do as much work on it was I wanted 
• I want to add more pictures, drawings, explanations, and annotations

Mother Courage Design Project Final Results

Bird's Eye view

Front view of the set

Balcony and Cannon 

Cart

Cannon and Washing Line

Flagpole and Stairs

Orchestra

Paragraph for Mother Courage Design Project

The background of this design is gray because of the depression that war dredges up around it. This background will only be visible during the scene when peace is declared. The grey background will have projections of rubble on it and smoke will permeate the air on-stage and in the audience. This shows the utter destruction of war and the seemingly impossible task of cleaning up, and attempts to explain, not justify, the aversion some have to peace. During the other scenes the stage will be dark. The atmosphere of the war will be achieved by having projections of a laser show projected onto a black background. This shows the confusion of war and its darkness but also its indescribable lure and mystification of those previously unconcerned bystanders around it. Key quotes and morals of the scenes will be projected on these walls as well. The silver balcony that hangs over the stage is the offstage area. This puts them in view of the audience at all times, as well as showing that they cannot completely leave the world that is presented on the stage. The metal of the balcony and stairs show the tie between the characters and the military. The cannon is the largest symbol of the military. Its size and position shows its power and prestige, as well as the mass of the military that few dare to question. Mother Courage’s cart is made out of crooked sticks of all sizes into a simple box-shaped structure, held together by chains. The bundles inside the cart represent Mother Courage’s goods, her livelihood, the chains hold on to it. They are wrapped around the cart. This shows how Mother Courage is tied to her cart. She is imprisoned by the cart and depends on it, a form of Stockholm syndrome. There are a few props chained to the outside of the cart, red boots, pipe, clerical robes, and money box, they represent the people that depend on Mother Courage that she depends on, Kattrin, Swiss Cheese, the Chaplain, and the Cook. When they leave Mother Courage, their props will be removed from the cart until it is bare. The boots are very tall with high heels, bright red and covered in sparkles, making them very unpractical. They represent how Kattrin and Yvette are both impractical for the time but manage to survive in the war despite their weaknesses. They are memorable in different ways. The pipe is made out of silver metal, showing how the Cook is tied to the military. It is shaped like a coiled hissing snake to show the wiliness of the Cook who ends up being Yvette’s ex and who attempts to abandon Kattrin. The pipe is tarnished and old because the Cook is old and broken down. He is tired of the war and the life it gives. The clerical robes represent the Chaplain. He in turn represents the religion of war, propaganda to get the soldiers to fight. They become moth holed from neglect, showing how propaganda does not last. The washing line is attached to the cannon and to the cart, illustrating the link between Mother Courage and the war machine, a simple everyday link, dependency. Mother Courage relies on war to feed and clothe her and her children. She does not know how to operate without it. The flag pole is bright silver to show its connection with the army and to make it stand out in the environment of darkness as a beacon, the power of theleaders. The flag, a pirate flag, shows the ruthless selfishness that is driving them. The military is run by those who want plunder, adventure, and power, and steal them from others. The chairs and music stand show where the orchestra will be.

Reflection on Mother Courage Design Project

I had fun with this project, and I think that my lack of artistic talent managed to hide for the duration, because it actually looks good. I also think that I had a very simple and clear, but strong performance concept. It was, "the military leaders are using war for their own gain, and the people have adapted to survive it and have learned to embrace it as the norm." I enjoyed it more than the PPP, because it was more structured and focused. This project had a specific part of the design process to focus on, set design, and was focused on Mother Courage. This gave a very specific starting point which helped to control ideas as opposed to making up the play and being able to change it to fit new ideas. The fact that it focused on set design made it easier to concentrate, as opposed to having many aspects to consider and having to cover all of them. In this project I learned that it can be difficult to make a practical set design that also  communicates the appropriate message. I also learned that it can be difficult to focus only on the set. I had to consider some aspects of lighting and projection to make my design work correctly. One thing that I would change would be that I would have been more exact with my sizing because I ended up with rather large set pieces that were difficult to fit on the stage together. Another thing that did not go as I wanted was my orchestra. I wanted to make some chairs and music stands from toothpicks and hot glue, but they did not stand up well although they look pretty good, if they would stay standing. I would spend more time designing and making something to symbolize this aspect, because even though I liked how the chairs looked, they were not very close to what I wanted them to look like if I really did the play. I would also want to put some instruments in this section of the stage. 

RI Research

Mr. Fearnehough has instructed us to begin brainstorming on our RI's. I need to select a theatre practice and learn about its conventions. I am thinking about doing an older type of theatre, possibly meant to entertain, because I want a light hearted topic and I would also like to learn about historical, formative types of theatre. I am considering Greek tragedy, Asian theatre of some type, or Native American theatre. I am interested in Native American theatre because of my American roots and because I have Native American ancestors and I don't know very much about their culture. I think that Greek tragedy will be easier to research because it was a more sophisticated format, it is more standardized and more widely researched and known. There are also several famous plays that I could use. 

Conventions of Greek Tragedy

1. Themes like morality and religiosity
2. Split into three parts: prologue, parados, and exodus.
3. Character's spoke in iambic pentameter (unstressed, stressed syllables)
4. Story is meant to spark a reaction in the audience
5. Stories were of fantastical places involving the Greek gods and other elements of Greek mythology
6. Based on the hymns that were sung in honor of Dionysus
7. Chorus, men or boys singing or chanting the words of a poem or song
8. The hero suffers a serious misfortune through no fault of his own (not accidental)
9. Used masks that originated from the worship of Dionysus
10. Plays often formed trilogies  

Sources: <http://www.helium.com/items/2375210-conventions-of-greek-tragedy-including-the-plays-of-aeschylus-sophocles-and-euripides>\

<http://ablemedia.com/ctcweb/netshots/tragedy.htm>

Set Design on Bretch & RI

We have finished our mock PPP's which for me, I find went well. I actually really enjoyed doing it because it gives a chance to express yourself and come up with anything!

We have finished our Set Design project for Bretch's Mother Courage and I think that went well too. I thought that it was nice to go off on our own in one project and create our own ideas in a new role of being a set designer. We gained lots of skills that will be useful for PPP's and also for TPPP's.

Now, for the summer we have our next task which is the RI. I don't think that this is going to really hard and I think that i might actually enjoy it because I love finding out about new theatre practises that the western world has not seen or heard about before! It will be easy to write it because it is something we pick and research about, once we understand the practise and the conventions, it should be (hopefully) easy to write the RI.

I have decided to pick the theatre practise Japanese Kabuki Theatre. It began at the beginning of the 17th Century. Kabuki is now the most popular traditional Japanese theatre styles.
Important Conventions of Kabuki:

• Play Structure - the plays do not usually last an hour or two, people dedicate a full day of entertainment to escape the world but in more modern days, plays are shorter. A full length play will involve 5 acts. 
• Make-up is important, rice poweder is a main ingredient to create the facial makeup. Colours on the face represent the characters character,emotons or personality. 
• Stage design is important for the storyline and characters. Different aspects like, traps, attached wires for flying, mid-scene changes... is important. 

Research Investigation Topic

So, now that the PPP and set design coursework is DONE, I find myself with a whole lot of spare time! However, this will soon change because... RI! Yes, this piece of work, along with my EE and IA's, will dominate my summer! Wonderful. Anyway, here's what I chose:

BUTOH:

I chose this type of theatre because I liked the fact that it tackles very serious world-related issues through the medium of Theatre. I also like the idea that you can communicate ideas simply through movement.

Conventions:

• A Japanese type of Theatre that emerged in the 1960's as a protest against traditional arts and their silence over the atrocities committed in the Second World War. Today, it focuses on serious issues concerning the present world.
• Defined by dance and movement. Specifically, hyper-controlled slow-motion.
• Codified type of Dance. Even has its own language to regulate it, Butoh-fu.
• Inspired by Artaud's Theatre of Cruelty and the writings of the Marquis de Sade.
• Minimal set and costumes to engage the imagination  of the audience.
• Relies on improvisation.
• Every movement is studied and practised to be perfect on the day of the performance. They are sometimes inspired by animals.
• Use of white make-up to show uniformity. Allows the audience to concentrate on the meaning of the dance.

Play: "Kinjiki" (Forbidden Colours) by Tatsumi Hijikata

Theatrical element: Hyper-controlled movement.

RI Topic!

Because of my interest in history I want to do my RI in a theatrical style that is historically rooted. My first idea was to do something with Norwegian folk plays that used pastoral settings and corps du ballet, however due to my background knowledge in ballet I decided to take a more unfamiliar route. I’ve decided to take my RI to a land completely foreign to me: China.

1. Theatrical Practice: Sichuan Opera (China)

Conventions:

·         Sichuan Opera (Chuan Ju) originated at the end of the Ming (1368-1644) and the beginning of the Qing Dynasty (1644-1911).

·         Based on folktales and legends

·         Humorous and witty dialogue

·         Face changing is the highlight of Sichuan Opera. (ancient people painted their faces to drive away wild animals)

·         Musical instruments Erhu, the gong, and the lute, actors sing in high-pitched voices, use of drums

·         Facial make-up with exaggerated designs are painted on each performer's face to symbolize a character's personality, role, and fate.. Generally, a red face represents loyalty and bravery; a black face, valor; yellow and white faces, duplicity; and golden and silver faces, mystery.

·         Acrobatics, fire breathing

·         Bright sets and costumes

2. Play: “Scholar from Bashan County”,(Bashan xiucai) by Wei Minglun and Nan Guo
3. Theatrical Element
-Face changing make-up

·         “Wiping Mask routine the actor applies cosmetic paint in a certain position on his face. If the whole face is to be changed, the cosmetic paint is applied to the forehead or eyebrows; for changes on the lower half of the face, paint is applied to his cheeks or nose; or to other specific parts”.

·         Blowing Mask routine works with powder cosmetics, such as gold, silver, and ink powders. Sometimes a tiny box is placed on the stage; the actor draws near and blows at the box. The powder will puff up and stick to the face. Sometimes the powder is put in a cup. The secret to success in this act is to close the eyes and mouth and to hold the breath”.

·         “Pulling Mask routine is the most complicated. Masks are painted on pieces of damask, well cut, hung with a silk thread, and the lightly pasted to the face one by one. The silk thread is fastened in an inconspicuous part of the costume. With a flick of his cloak the performer magically whisks away the masks one by one as the drama develops”.

·         “By raising the hand, swinging a sleeve or tossing the head, an actor uses different masks to show different emotions, expressing invisible and intangible feelings through visible and tangible masks. From green to blue, red, yellow, brown, black, dark and gold, these masks show fear, tension, relaxation, slyness, desperation, outrage, and so on”

Reflection and RI

Reflection and RI 

Reflection of Set Design:
At first i thought the set design work was going to be very easy and i would have different ideas about what i could use. We decided t do a set design on the play 'Mother Courage' by Bertolt Brecht. I thought it was going to be hard to do a set design for this play because Brecht's key aspects he wanted to show in his production is the alienation of the audience - i had this in the back of my mind for  the whole process. 
We started reading the play fist and making initial notes on it, did research and we then went off and did our own set designs. The first thing that came into my head for my set design was projections because this is another key aspect of Brecht's ideas and was what he used a lot in his plays. 
During the process of this project i realized i had to understand Mother Courage herself and by understanding her i would be able to understand the whole piece.  I had to think of the scene i wanted to portray and at first i decided on doing a scene with a lot of props and scenery in it but i decided against that because it would match Brecht's aim of alienating the audience. So i decided on the first scene because its meaningful to the piece and has a significance to it. The significance of the first scene is showing that Mother Courage is on an journey that does not change she remains the same person from the start until the finish. So by choosing the first scene shows her entering the circle of her unchangeable journey. 
In reflection i thought it was really interesting and different to do such a hands on project and enjoyed it because it showed everyone's ideas and helped with our theater in the making.


RI: 
Ancient Greek Theater 
- Tragedy Plays 
- Comedy Plays 
- Satires
- Chorus  
- Acting 
- Costumes and Make-up 

An ancient Greek play consisted of three major parts. The play began with a prologue, a simple speech. Then, there was the entrance of the chorus. Finally, there were major episodes, scenes or acts, of the play.
Plays were important because they were originally performed to honor Dionysus, the ancient Greek god of harvest and wine. 
Understanding a Greek play is only possible if the symbolic significance of the actions, actors and stage is revealed. 


Tragedy Plays: 
A tragedy received its name from how it was performed. A tragedy had actors who wore goatskins and danced like goats.
Tragedies were invented first. In tragedies  one or more major characters always suffered a disastrous end.  

Comedy Plays: 
Comedy plays were derived from imitation and were invented after the tragedies. The plays always had a happy end.  

Satire:
Satires were plays that made fun of mortal legends and of real people. Satires in ancient Greece were often political in nature, and could affect people's opinions and current events. 

The Chorus:
In Greek Theater the chorus or the singers would tell the story. 

Acting:
Actors used gestures and masks to act out their parts. Actors also changed roles by changing theirs masks. 
The actors were all amateurs and all male- gestures use dot have to be very over the top so the whole audience could see and hear the story.

Costumes and Masks:
The actors needed exaggerated costumes and masks so that the audience would be able to hear and see.  
Masks were made out of linen and cork. 
Masks use din tragedies had very sad expressions and comedies had very happy expressions.  Masks were able to amplify the actors voice making it easier for the audience to hear. 

Costumes were colorful and reflected the gender and wealth of each character.