A lighting design process for a production of The Tempest by William Shakespeare THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Justin John Graduate Program in Theatre The Ohio State University 2014 Master's Examination Committee: Professor Mary Tarantino, Advisor Associate Professor Kristine Kearney Assistant Professor Kevin McClatchy
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A lighting design process for a production of The Tempest by William Shakespeare
THESIS
Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts
in the Graduate School of The Ohio State University
By
Justin John
Graduate Program in Theatre
The Ohio State University
2014
Master's Examination Committee:
Professor Mary Tarantino, Advisor
Associate Professor Kristine Kearney
Assistant Professor Kevin McClatchy
Copyright by
Justin John
2014
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Abstract
This thesis documents the design process for the production of The Tempest by
William Shakespeare. This play was produced in The Ohio State University’s Bowen
Theatre from October 10th through October 25th, 2013. The design concepts for the
production were developed in response to the director’s concept of a stage caught
between two forms. One form was of magic and the other of decay.
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Dedication
This document is dedicated to my advisor Mary Tarantino who put up with me for three
whole years.
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Vita
2007................................................................Hickman High School
2011................................................................B.A. in Drama, University of Arkansas
2011 to present ..............................................Graduate Teaching Associate, Department
of Theatre, The Ohio State University
Designs for The Ohio State University
This Above All
Hamlet’s Fool
The Arabian Nights
aPOEtheosis
Hamlet’s Fool (London)
The Tempest
Fields of Study
Major Field: Theatre
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Table of Contents
Abstract ............................................................................................................................... ii
One of the beauties of choosing The Tempest for this project is its length. It is short
enough that it does not have to be heavily edited - merely sheared – while the magic,
music, and playfulness of the play make it ideal material for children
The Tempest is to me about the magic of theatre, the desire to have revenge, and the
bravery and loss that comes with forgiveness. It is a play full of fear, wonder and
trickery. Prospero is a man both in and out of control who, with the help of his servant
Ariel, directs his own version of the events that play out in front of us. The ultimate
power, however, lies with the audience who are in the end asked to set him, the play,
and ourselves free.
Prospero as Director:
My first objective would be to show that Prospero is in control of the play. My version
would be self-consciously theatrical throughout and would become an imaginative fairy
tale that Prospero seemingly conjures from a script.
Clever design would present the Roy Bowen stage as a derelict and disused theatre.
Lights would flicker on the rig, scaffolding would loom above, discarded costumes would
sag from broken rails, old props would litter the auditorium, the roof would be leaking a
steady drip of water, wires and ropes would dangle everywhere and a cracked broom
would lean against a pile of swept rubbish. As the audience enters the space Prospero,
lone on stage, studies his reflection in a shattered mirror. He would seemingly be
preparing for a performance, trying to memorize lines from a book by repeating them
aloud. These lines would be from The Tempest.
The Theatre as Island:
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The theatre is Prospero’s mind as well as the island, and the set is the playground on
which he tells his story.
Discarded objects around the space will be brought to life during the storytelling and the
young audience will watch and experience the magic of theatre being crafted in front of
them. I imagine that ostensibly littered theatrical objects –– a broken rail, a corner of a
red stage curtain, a poster – will become, for example, the mast, bow and sail of a boat
which is puppeteered and then divided by the storm. All these objects would become
recycled and part of the storytelling. Perhaps, for instance, the broken wood boards of
the stage become the logs that Caliban and Ferdinand must carry whilst the flickering
light is what the characters take for lightening,
Without realizing it, everything the audience have seen or experienced before the play
begins will become incorporated into the action. In contrast to the characters that are
washed up on the island - and therefore as outsiders enter and exit from offstage - the
islanders will issue from inside the theatre itself. Thus an anachronistic hoop underskirt
hanging from the wall would suddenly spring to life as Miranda, the pile of rubbish on
the stage would reveal Caliban (a broken statue?) sitting underneath it, whilst Ariel’s
would first enter as Prospero’s reflection in the shattered mirror.
Miranda, Caliban, Ariel and Prospero in his magic mantle will all look like ghosts of the
theatre and will be completely distinct from the modern dressed court that wash up on
their island. Ariel’s appearance, unlike that of the other characters, will radically alter
every time she appears from the shattered mirror. I like the idea she takes on the roles
of all those who work in a functioning theatre; at points a cleaner, a lighting technician,
a designer, a stage manager, and then an usher.
In fact I imagine there is a ghostly chorus of ushers who invisibly act as Ariel’s chorus.
Melting in and out of the space they together create the sound effects and music live
which is needed for the piece, as well as puppeteer the discarded objects into life.
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Everything accelerates theatrically towards the magic of the masque when the theatre
becomes fully functioning and almost operatic in its style. Think Beyonce super bowl
dramatic! Ornate costumes, lavish performances, and amplified sound would sweep
across the stage. (In my experience any show that contains a glitter ball is a winner with
children!).
The Comedy of Control
Prospero controls the entrances and exits of characters by turning a page in his book. In
contrast Ariel - his playful agent - would control the actions of the characters while they
are on stage. Similar to Puck in Midsummer Night’s Dream, Ariel will be mischievous in
delivering Prospero’s commands and his invisibility will exploit every ounce of humour.
She will splash water in the faces on the ‘dry’ Alonso, sit on Caliban’s log to make it too
heavy to lift, and manipulate clothes to run like monsters after the disobedient
Sebastian.
We should exploit every moment of music in the piece and perhaps every time Ariel
sings – perhaps picking up the discarded microphones – she could find in a costume box
a wig that reflects the style of music she will perform: at one point a rock star, the next
Elvis, and then a blues artist.
The Tragedy of Revenge
However, I would not want to rid the play entirely of its darkness, and so would allow
the audience to see what terrifying images are in the despairing protagonist’s memory. I
think perhaps Prospero’s conjuring power would extend during the play to bringing to
life the past he relates in the text. This would both invest him with more magical powers
and also physicalize the description for the young audience.
This visualization could be both to Miranda (about how they got to the island), or to
Ariel (about his release from Sycorax’s capture). We would therefore watch the
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fantastical birth of Caliban before he appears and know who the grieving Alonso is
before he speaks. When we meet the laughable creatures in the story and compare
them with the terrifying images Prospero initially created in front of us, I hope the
audience will better understand his anger and decision for forgiveness.
The Audience as Judge
In this ‘play-within-a-play ‘scenario it would be remiss not to exploit the participation of
young audience members. From the outset the audience should feel as if they have
been ‘conjured’ and their presence is needed to witness the events. A recording of
young spectators chatter as they enter the auditorium would increase in volume as the
play begins and be manipulated into the sound of waves to become the famous opening
storm.
Their involvement would gather momentum with Ariel enlisting their vocal support in
his invisible exploits and their being encouraged to sing along and clap to the music. At
points they should feel as if they are in a courtroom – being referred to as if they were
jurors on the action – and would be invited to boo or cheer approval of characters. Their
participation would reach a climax in the masque where willing volunteers would be
brought onto stage to dance with the characters and those not involved would be given
confetti to throw so that the whole auditorium became the stage.
I would like there to be a cyclical feel to the play. When Prospero invites the audience to
release him by clapping at the end, I want the audience to feel like they are perhaps
now being responsible for creating a tempest similar to the one they heard at the
beginning.
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OSU
In terms of supporting the OSU ensemble, at the moment we imagine Ariel, Antonio
(Antonia) , Stephano (Stephana) and Prospero (Prospera) would become women. This
gender swapping is a much fairer way than
doubling of allocating parts amongst the ensemble – allowing for an equal number of
comic and serious roles amongst them – and also provides more clarity. Lastly,
Sebastian would merge with Antonio/a as one part so that he would soliloquize and ask
the audience whether to kill Alonso.
The courtly outsiders should all be slick Republican politicians whilst I imagine that
Trinculo is a party animal and Stephana is perhaps a scantily clad cruise liner waitress.
In keeping with ‘theatre as island’ theme, the company would have huge demands in
puppeteering all the discarded objects of the theatre to life. The thrill of performing –
and watching – will be how playful these transformations can be.
The amount of collective creativity and energy the company bring will directly relate to
the sense of empty enchantment at the end. Once the show is over and the stage is
cleared the youngsters should still feel the invisible magic of the empty space.
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Appendix B: Production Paperwork
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Tech Request Tempest
•I would like to use the ETC Gio Lighting Desk for flexibility with the instruments and experience
with the latest technology. Also I have not yet been able to use this console in a show at Ohio
State
•10 ETC source-4 70 Degree instruments from the shared inventory. The catwalks need front
light/accent light. I need a wider angle in order to hit these acting areas. Also I desire to have the
ability to wash the stage with texture and this instrument type allows me to do so with more
efficiency than others.
•8 ETC source-4 36 Degree instruments from studio inventory because the playing space is so
large I will need extra 36s for coverage visibility and color continuity.
•12 vl5s for the color mixing capabilities possible movement during the masque and storms. This
should provide me with a lot of rich color variation that will help establish time and place
throughout this show that has a plethora of both.
•2 Rosco i-cues and auto iris to use in conjunction with a ETC Source 4 26 degree instrument to
supplement the actor controlled follow spots and for unanticipated specials.
•4 spot handles and 4 manual irises for the spirits spotlights. These will be for the sprit
characters to operate and control the action in some scenes in with their lights; I will need these
early in the production process in order to accommodate the lighting workshop(s) that have yet
to be scheduled.
•8 ETC source-4 50 Degrees four from the studio inventory and 4 from the shared inventory, this
will allow for me to have some dynamic high back tops and color opportunities.
•A wireless dmx RC4, cool white led tape, 12 volt battery for the light up 2k Fresnel to increase
the magic of the show. Cressida Brown and I have discussed using different lighting instruments
and tricks to reinforce the ability of Ariel and here spirits ability to manipulate the space.
•The CD-80 24 dimmer rack from the Lighting Studio for extra power and dimming
opportunities. While this is not necessary for the production it will allow greater flexibility in the
ability to control the show and sculpt the space.
•1 2k Kliegl Brothers Fresnel to put the LED tape in. This if for the aforementioned prop to
increase the actors’ integration with the set and lights
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Tempest Lighting Shop Order
Bowen Theatre, Ohio State University Lighting Designer: Justin John
September 23, 2013
Producer: Department of Theatre The Ohio State University 1089 Drake Center for the Performing Arts 1848 Cannon Dr. Columbus Ohio 43210 Load In: 2:30 p.m. Wednesday 9-25 Bowen Stage Load Out: 1:30 p.m. Monday 10-28
1. Provide a color frame, c-clamp, and safety cable for each fixture. 2. See paperwork for complete accessories information, such as patterns and
color. 3. Have barn doors and top hats on hand if problems arise 4. Check with designer focus of patterned units 5. Provide all appropriate Data and Power cables.
Total Units:
QTY INST TYPE WATTAGE SOURCE, IF NOT Bowen
[14] 6x9 ALTMAN 750
[51] Source 4 36º 575w + 8 from studio theatre
[8] Source 4 70º 575w shared inventory + order
[02] Source 4 90º 575w
[12] 6x12 ALTMAN 750w
[28] Source Four PAR-Nell 575w
[19] 6 FRES CENT 500w
[08] Source 4 50º 575w + 4 from studio theatre
[1] LED TAPE DC voltage shared inventory
[27] 6X12 CENTURY 750
[02] DATA FLASH STROBE shared inventory
Accessories:
[02] Rosco I-Cue [02] Auto Iris [04] Spot Handle (Source 4) 3 on order [04] Manual Irises [01] dmx power supply Things to order:
4 source 4 Par-Nells –order
3.5 source 4 70s -order
3 SPOT HANDLES –already ordered.
Gel
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4/14/2014 The Tempest Justin John : LD
cue F/w T D Call Description
1.00 5 pre show set warmer
1.50 5 curtain speech curtain speech
2.00 1.5/1.9 0 with first thunder lightning
2.01 0.05 0 follow lightning
2.02 0.1 0 follow lightning
2.03 0.05 0 follow lightning
2.04 0.1 0 follow lightning
2.05 0.05 0 follow lightning
2.06 0.1 0 follow lightning
2.07 0.05 0 follow lightning
2.08 0.1 0 follow lightning
2.09 0.05 0 follow lightning
2.10 0.1 0 follow lightning
2.11 0.05 0 follow lightning
2.12 0.1 0 follow lightning
2.13 0.05 0 follow lightning
2.14 0.1 0 follow lightning
2.15 0 follow lightning sit
3.00 0.05 0 Bestir, Bestir lightning
3.01 0.05 0 follow lightning
3.02 0.05 0 follow lightning
3.03 0.05 0 follow lightning
3.04 0.05 0 follow lightning
3.05 0.05 0 follow lightning
3.06 0.05 0 follow lightning
3.07 0.05 0 follow lightning
3.08 0.05 0 follow lightning
3.09 0.05 0 follow lightning
3.10 0.05 0 follow lightning
3.11 0.05 0 follow lightning
3.12 0.05 0 follow lightning
3.13 0.05 0 follow lightning
3.14 0.05 0 follow lightning
3.15 0.05 0 follow lightning
3.16 0.05 0 follow lightning
3.17 0.05 0 follow lightning
3.18 0.05 0 follow lightning
3.19 0 follow lightning sit
4.00 0.05 0 Play the Men lightning
4.01 0.1 0 follow lightning
4.02 0.05 0 follow lightning
4.03 0.1 0 follow lightning
4.04 0.05 0 follow lightning
4.05 0.1 0 follow lightning
4.06 0.05 0 follow lightning
4.07 0.1 0 follow lightning
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4/14/2014 The Tempest Justin John : LD
cue F/w T D Call Description
4.08 0.05 0 follow lightning
4.09 0.1 0 follow lightning
4.10 0.05 0 follow lightning
4.11 0.1 0 follow lightning
4.12 0.05 0 follow lightning
4.13 0.1 0 follow lightning
4.14 0.05 0 follow lightning
4.15 0.1 0 follow lightning
4.16 0 follow lightning sit
5.00 0.05 0 Trouble us Not lightning
5.01 0.1 0 follow lightning
5.02 0.05 0 follow lightning
5.03 0.1 0 follow lightning
5.04 0.05 0 follow lightning
5.05 0.1 0 follow lightning
5.06 0.05 0 follow lightning
5.07 0.1 0 follow lightning
5.08 0.05 0 follow lightning
5.08 0.1 0 follow lightning
5.09 0.05 0 follow lightning
5.10 0.1 0 follow lightning
5.11 0.05 0 follow lightning
5.12 0.1 0 follow lightning
5.13 0.05 0 follow lightning
5.14 0.1 0 follow lightning
5.15 0.05 0 follow lightning
5.16 0.1 0 follow lightning
5.17 0.05 0 follow lightning
5.18 0.1 0 follow lightning
5.20 0 follow lightning sit
6.00 0.1 0 Down with the topmast! Yare! lightning
6.01 0.1 0 follow lightning
6.02 0.1 0 follow lightning
6.03 0.1 0 follow lightning
6.04 0.1 0 follow lightning
6.05 0.1 0 follow lightning
6.06 0.1 0 follow lightning
6.07 0.1 0 follow lightning
6.08 0.1 0 follow lightning
6.09 0.1 0 follow lightning
6.10 0.1 0 follow lightning
6.11 0.1 0 follow lightning
6.12 0.1 0 follow lightning
6.13 0.1 0 follow lightning
6.14 0.1 0 follow lightning
6.15 0.1 0 follow lightning
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4/14/2014 The Tempest Justin John : LD
cue F/w T D Call Description
6.16 0.1 0 follow lightning
6.17 0.1 0 follow lightning
6.18 0.1 0 follow lightning
6.19 0.1 0 follow lightning
6.20 0.1 0 follow lightning
6.21 0 follow lightning sit
7.00 0.05 0 Hang Cur! lightning
7.01 0.1 0 follow lightning
7.02 0.05 0 follow lightning
7.03 0.1 0 follow lightning
7.04 0.05 0 follow lightning
7.05 0.1 0 follow lightning
7.06 0.05 0 follow lightning
7.07 0.1 0 follow lightning
7.08 0.05 0 follow lightning
7.09 0.1 0 follow lightning
7.10 0.05 0 follow lightning
7.11 0.1 0 follow lightning
7.12 0.05 0 follow lightning
7.13 0.1 0 follow lightning
7.14 0.05 0 follow lightning
7.15 0.1 0 follow lightning
7.16 0.05 0 follow lightning
7.17 0.1 0 follow lightning
7.18 0.05 0 follow lightning
7.20 0 follow lightning sit
8.00 0.4 0 Insolent Noisemaker lightning
8.01 0.05 0 follow lightning
8.02 0.1 0 follow lightning
8.03 0.05 0 follow lightning
8.04 0.1 0 follow lightning
8.05 0.05 0 follow lightning
8.06 0.1 0 follow lightning
8.07 0.05 0 follow lightning
8.08 0.1 0 follow lightning
8.09 0.05 0 follow lightning
8.10 0.1 0 follow lightning
8.11 0.05 0 follow lightning
8.12 0.1 0 follow lightning
8.13 0.05 0 follow lightning
8.14 0.1 0 follow lightning
8.15 0 follow lightning sit
9.00 0.05 0 All lost! lightning
9.01 0.1 0 follow lightning
9.02 0.05 0 follow lightning
9.03 0.1 0 follow lightning
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4/14/2014 The Tempest Justin John : LD
cue F/w T D Call Description
9.04 0.05 0 lightning
9.05 0.1 0 follow lightning
9.06 0.05 0 follow lightning
9.07 0.1 0 follow lightning
9.08 0.05 0 follow lightning
9.09 0.1 0 follow lightning
9.10 0.05 0 follow lightning
9.11 0.1 0 follow lightning
9.12 0.05 0 follow lightning
9.13 0.1 0 follow lightning
9.14 0.05 0 follow lightning
9.15 0.1 0 follow lightning
9.16 0 follow lightning sit
10.00 0.05 0 In the action (no line) lightning
10.01 0.1 0 follow lightning
10.02 0.05 0 follow lightning
10.03 0.1 0 follow lightning
10.04 0.05 0 follow lightning
10.05 0.1 0 follow lightning
10.06 0.05 0 follow lightning
10.07 0.1 0 follow lightning
10.08 0.05 0 follow lightning
10.09 0.1 0 follow lightning
10.10 0.05 0 follow lightning
10.11 0.1 0 follow lightning
10.12 0.05 0 follow lightning
10.13 0.1 0 follow lightning
10.14 0.05 0 follow lightning
10.15 0.1 0 follow lightning
10.16 0.05 0 follow lightning
10.17 0.1 0 follow lightning
10.18 0.05 0 follow lightning
10.20 0 follow lighting sit
11.00 0.05 0 Lets all sink with the king with final thunder
11.01 0.1 0 follow lightning
11.02 0.05 0 follow lightning
11.03 0.1 0 follow lightning
11.04 0.05 0 follow lightning
11.05 0.1 0 follow lightning
11.06 0.05 0 follow lightning
11.07 0.1 0 follow lightning
11.08 0.05 0 follow lightning
11.09 0.1 0 follow lightning
11.10 0.05 0 follow lightning
11.11 0.1 0 follow lightning
11.12 0.05 0 follow lightning
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4/14/2014 The Tempest Justin John : LD
cue F/w T D Call Description
11.13 0.1 0 follow lightning
11.14 0.05 0 follow lightning
11.15 0.1 0 follow lightning
11.16 0 follow lightning sit
12.00 7 7 spot out Miranda light far US
12.50 5 follow expand into DS light
13.00 5 Be Collected Prospero up
14.00 5 Lays down cloak stairs out
15.00 5 Sit down mood shift
16.00 5 be so perfidious cooler
17.00 5 to what tune pleased her ear cooler still
18.00 5 Did us but loving wrong even colder
19.00 35 5 Approach my Ariel come Ariel entrance
19.50 5 follow seating light out
19.60 6 Prospero down from stairs stairs out
20.00 35 15/30 This blue eyed hag even angrier
20.50 10 follow
21.00 5 Slave caliban 171 on very low
22.00 10 Come forth caliban light
23.00 7 Ariel starts singing ferdy light
24.00 2 hark hark bow wow dim things
25.00 11 full fathom 5 bring up catwalk
26.00 10 But certainly a maid shift catwalk light more on stage
27.00 5 oh if a virgin shift more away from catwalk, force P on
28.00 10 sir have pity subtle color
29.00 5 So they are shift color more spirit darker
41.00 5 on gonz exit calaiban light/ storm stick time
41.10 0.1 0 visual clap lightning
41.20 0 follow lightning
41.30 0.1 0 visual clap lightning
41.40 0 follow lightning
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4/14/2014 The Tempest Justin John : LD
cue F/w T D Call Description
42.00 5 do his me into madness trink entrance
43.00 5 perchance he will not mind me montor
44.00 0 storm brewing small shift
45.00 5 alas thunder shift
46.00 5 stephana enter light for her
47.00 10 do not torment me O! stephana transfer to possition
48.00 5 do not torment me O! x2 steps out all on stage
49.00 10 his fit. | if I can monster light
50.00 5 These be fine things mood shift
51.00 5 Oh brave monster lead the way x fade to next scene
52.00 5 ill carry it to pile Prospero up
53.00 5 oh nobel mistress open up stage
54.00 5 much business appertaining into next scene
55.00 5 I therin do forget color back high sides
56.00 3 ariel plays the tune up in grid light
57.00 3 Walt come ill follow to next scene
58.00 3 puppet show starts back light on
59.00 3 puppet show ends back light off
60.00 0 and do as we harpy
61.00 1 against your peace harpy light off
62.00 5 in this strange stare scarry light
63.00 5 ill be thy second color goes away
64.00 5 may now provoke them to all exit into next
65.00 2 no toungue all eyes be silent may pole start
66.00 2 ceres may pole end/ start of masque
66.10 5 appproch, rich ceres, her to.. open up stage
66.50 5 aproach juno color and effect increace
67.00 5 in their issues blessing light start
67.50 5 a contract of love prospero gets up
68.00 5 you do not look prospero gets rude
69.00 5 we wish your peace into areil/prospero world
70.00 5 come hang on this line areil space into calaban space
71.00 5 Oh queen stephana brighten up stage
72.00 5 the dropsy down catwalks away
73.00 5 aye and this gets scarryer
74.00 5 start of dog moat
75.00 5 let them be hunted only catwalks movement
75.50 5 now does my project catwalks shift possition
76.00 10 5 ill fetch them sir prospero alone on stage
76.50 10 follow steps out all on stage
77.00 5 for you are spell stopped notices people behind
78.00 5 moves twards them ramp out
79.00 3 thou shalt be free lighting more ariel
80.00 5 why that's my dainty ariel light shift
81.00 5 Behold sir king court wakes up
82.00 5 as much as me my dukedom warms up
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4/14/2014 The Tempest Justin John : LD
cue F/w T D Call Description
83.00 5 some few odd ones that you DL light up calaban entrance
84.00 5 sir I invite back stage light on
86.00 5 epiloge starts house to 1/2 areas a-g up
87.00 5 curtian call bright as all get up
88.00 5 after actors leave set warmer # 2
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Appendix C: Costumes
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Costume presentation The island is an abandoned theatre, and the play begins with Prospero the director of events sat alone on his island. Now, one question that came up in the auditions really worried me. It was asked, after reading the concept, whether we were going to be sticking with the text Shakespeare had written as if the concept of the island as a derelict theatre was too radical to be sticking strictly with the original. All the relationships between characters (father/daughter, master/servant, brother/sister etc…) will be exactly the same as they are in the text. As his last play the idea that Prospero is Shakespeare himself is not an old one. And the Tempest, the play of Shakespeare’s most concerned with the reality of theatrical illusion is often seen as Shakespeare’s final farewell to playwriting. He is the magician that conjures the play but at the end he abandons his art, as an actor abandons his role. Marni explain how we have costumed Prospero – don’t mention court here Islanders So all of the characters initially confined on the island are ghost of the theatre. They issue from the island or theatre and set itself Marni explain Caliban – statue have passed ‘this island’s mine’ Miranda – emerge from beautiful scenic backdrop of old production Ariel – begins as the usher that ripped the audience tickets. As Prospero’s agent she is the one that makes his imagination possible, and throughout will take on the role of all those who actually bring a theatre to life (don’t mention other roles yet). Ariel chorus: Ariel will also have chorus of spirits who help fool the outsiders that have been brought to the island and bring them to justice. They will be dressed as ushers throughout until the msque. Outsiders All the court that get washed up on the island are those who have confined Prospero to this island/derelict theatre. We have therefore made them look like slick commercial high fashion producer types so that they totally stand out in this alien environment. They do not see that the space is a theatre, to them is an island. Marni explain Antonia Sebastian Ferdinand Alonso Gonzala The outsider clowns One problem we faced in updating The Tempest to a modern world was who the clowns and servants would be in this context. They need to look like the court but be seemingly less powerful and comic. MARNI explain Stephana – sassy, PA type, bimbo (?) possibly from the South Trinculo – affected brattish, dedicated follower of fashion thinks a bit arty. Journeys of character Marni and Cress Miranda – costume changes and implications of Prospero’s ultimate loss. Only hero is unhappy with the end he planned. Caliban – still belonging to space when all gone. Ferdinand – becoming more manly (is there similarity between him at Ferdinand in way dressed?) Ariel – take on all guises of those who create functioning theatre. We will then bring this to Justin to talk about harpy’s wings and creation of magic being manipulated by chorus Audience Just as in Shakespeare’s day, the biggest character in this play is the audience; as, just as the ‘actor’ Prospero explains in his epilogue without them the play is not possible. We are yet to discover who our audience may be.
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Costume Renderings:
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Appendix D: Scenic Sketches and Drawings
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Final Ground Plan
Ladder Ladder
Ramp
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Appendix E: Lighting Production Photos
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Production photo “Prospero Comforts Miranda” Act 1 Scene 1
Production photo “Prospero after the storm” Act 1 Scene 1
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Production photo “Prospero subdues Caliban” Act 1 Scene 2
Production photo “Foiled plot” Act 2 Scene 1
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Production photo “Ariel and Prospero watch Ferdinand and miranda” Act 3 Scene 1
Production photo “Caliban climbs the mast” Act 3 Scene 2