In order to understand how the productions drastically change the discussion of sexual harassment within the play, we need to look at how the directors take away the gendered powers of the sub settings through lighting, props and music. For example, we see from the play the convent and whorehouse are spaces dedicated to women and empower them in lecherous sexuality or loyal chastity. Meanwhile, the prison is where both genders meet and are at the same level because of how everyone sins. What the 2011 production profoundly made by being set in the Cathedral, is having the characters themselves create the settings by going on and off the stage, or altar, during particular scenes. This helps the audience imagine the whorehouse, convent and prison
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The military barracks are the same and given grayish hues, the only colors coming from the green military uniforms and the British flag. Komar uses these colors to bring conformity to the production, and the power of the standby effect that will be explicitly displayed later on. A convent is briefly seen, but the light is dimmer, Sister Franchisca is not present, and when first introduced, we have a close-up shot of Isabella on the phone when Lucio tells her Claudio has been arrested. This greatly minimizes from the start the power of the convent for women, and the power Isabella has within the space. She finds her power, though, when she leaves the space and confronts Angelo. Also, the convent is replaced by the military chapel where a number of characters meet, such as Isabella when she goes to pray, the Duke, as the Friar concocting his disguise and even Angelo when he wishes to speak to the Friar. The only time colorful imagery is displayed is during the flashback of Angelo and Mariana’s relationship, depicted away from the duller space of the barracks. Whereas, the barracks lack expressing emotions because of the strict environment of the military. They are only released in the darker setting of the bar where these is less restriction, momentous freedom and dulling restricted sensations through drugs, drinking, gambling and sex. That greatly contrasts to the jovial whorehouse
The military barracks are the same and given grayish hues, the only colors coming from the green military uniforms and the British flag. Komar uses these colors to bring conformity to the production, and the power of the standby effect that will be explicitly displayed later on. A convent is briefly seen, but the light is dimmer, Sister Franchisca is not present, and when first introduced, we have a close-up shot of Isabella on the phone when Lucio tells her Claudio has been arrested. This greatly minimizes from the start the power of the convent for women, and the power Isabella has within the space. She finds her power, though, when she leaves the space and confronts Angelo. Also, the convent is replaced by the military chapel where a number of characters meet, such as Isabella when she goes to pray, the Duke, as the Friar concocting his disguise and even Angelo when he wishes to speak to the Friar. The only time colorful imagery is displayed is during the flashback of Angelo and Mariana’s relationship, depicted away from the duller space of the barracks. Whereas, the barracks lack expressing emotions because of the strict environment of the military. They are only released in the darker setting of the bar where these is less restriction, momentous freedom and dulling restricted sensations through drugs, drinking, gambling and sex. That greatly contrasts to the jovial whorehouse