Proposed Maraczek logo
Tuesday, July 8, 2008
Monday, July 7, 2008
DESIGN RESPONSE
REACTIONS TO THE MUSIC
The music is quirky, very romantic and European. The set should reflect the European influence. The silhouettes will favor Eastern Europe and we may even see characteristic landmarks of Budapest featured in paint or silhouette.
The music is at times full and detailed, at others sketchy and free. I think we can accentuate both paradigms by using careful detail near the actors, and looser more theatrical styling in the larger more general scenic elements.
The music flows, so the action should be unimpeded by lengthy scene changes. We will use the revolve of the stage (or manufacture one), to aid the smooth transition from several locations. I think we can use a number of flown units as well to help keep the transitions smooth. We should consider tracks or casters for other units—such as street lamps, the hospital bed, a park bench etc., to keep the action flowing.
The music is intimate. To help emphasize the intimacy, we should use the stage extension to bring the action down closer to the audience. Perhaps we could use a false proscenium like we did with Magic Flute placed further DS to further enhance the intimacy of the show.
The music is also integrated. We talked about incorporating the orchestra into the action. I’m intrigued by a way out of the pit that allows a violinist to stroll the streets in the overture or through the café and then return safely and visibly to the pit.
REACTIONS TO THE MOVIE
IN a nod to the black and white of the original film, I would like to keep the color palette rather tight. Each major location should use either analogous colors or a tight scheme of two or three complementary or congruous hues. Accents could be brighter and more diverse, but the majority of the fixtures and furniture should be kept in a tight color world. This also helps create an air of European sophistication and also lends a certain modernity to the mise en scene.
The music is quirky, very romantic and European. The set should reflect the European influence. The silhouettes will favor Eastern Europe and we may even see characteristic landmarks of Budapest featured in paint or silhouette.
The music is at times full and detailed, at others sketchy and free. I think we can accentuate both paradigms by using careful detail near the actors, and looser more theatrical styling in the larger more general scenic elements.
The music flows, so the action should be unimpeded by lengthy scene changes. We will use the revolve of the stage (or manufacture one), to aid the smooth transition from several locations. I think we can use a number of flown units as well to help keep the transitions smooth. We should consider tracks or casters for other units—such as street lamps, the hospital bed, a park bench etc., to keep the action flowing.
The music is intimate. To help emphasize the intimacy, we should use the stage extension to bring the action down closer to the audience. Perhaps we could use a false proscenium like we did with Magic Flute placed further DS to further enhance the intimacy of the show.
The music is also integrated. We talked about incorporating the orchestra into the action. I’m intrigued by a way out of the pit that allows a violinist to stroll the streets in the overture or through the café and then return safely and visibly to the pit.
REACTIONS TO THE MOVIE
IN a nod to the black and white of the original film, I would like to keep the color palette rather tight. Each major location should use either analogous colors or a tight scheme of two or three complementary or congruous hues. Accents could be brighter and more diverse, but the majority of the fixtures and furniture should be kept in a tight color world. This also helps create an air of European sophistication and also lends a certain modernity to the mise en scene.
Subscribe to:
Comments (Atom)