Scenic design

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    Nicholas Georgiadis collaborated with MacMillan on multiple occasions throughout his career. His set designs along with John B. Read’s lighting design creates a “vast production” (Thornhill). However, the “core component” of the vast production is “the evolution of Romeo and Juliet’s relationship, from their initial shyness to their final moments” (Thornhill). Georgiadis’ designs create an “evocative, visual history of [Romeo and Juliet] and the dancers who created it” (Brown). In keeping with MacMillan’s traditional take on the Shakespearean play, there is an attempt to remain true to the styles of the 1590s. However, there are necessary changes to allow for choreographed movement. Men wear classical ballet tights, and the women’s dresses…

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    Gorgon Play Analysis

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    throughout the play. The actors reminded the audience that the play wasn 't just a stereotypical piece about teenage life and death. Lines like, “Would you rather a stone tongue or marshmallow teeth” and the whole set design being made of stone walls was a slap in the face, forcing us to remember that yes, this play does actually have a real meaning! Gabrielli and Smith perform their roles exceptionally well, especially in the scenes that centre around the metaphor of the Gorgon. The scene with…

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    Mamma Mia Play Analysis

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    On October 4, 2016, I went and saw Mamma Mia at 8:00pm at the Lutcher Theatre. This show was performed by Work Light Productions. Mamma Mia is a musical about a girl who is about to get married, Sophie, and wants to know who her father is so he can walk her down the aisle. The only problem is that her mom hasn’t told her much about her father so she doesn’t even know a possible name until she finds one of her mom’s old journals. She finds three possible father’s and invites them all. Her…

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    television. It had dials, an antennae, and sound effects. Moreover, this character was well developed and the outfit was well thought out. Without the outfit, the character would have been unable to provide the effect throughout the play, which would in turn make it harder for the audience to determine the goal. Set design throughout this production played a key role in providing the specific atmospheres Gladys had encountered. The first set is that of her home, which includes the kitchen.…

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    emphasizing the difference between a person refusing to accept death, and one who is comfortable with the topic. In this scene, the large glass walls of Professor Hilbert’s office are used to frame the characters. Most notably, the glass walls work to frame Hoffman’s character in the beginning of the scene, drawing the viewer’s attention to him. In regards to the theme of the film, framing helps viewers focus on the two characters, and their conversation about Harold’s impending death. The…

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    Lighting designer, Kevin Adams, and Scenic designer, David Korins, executed the structure of this musical in a simplistic yet creative way. My favorite element of the set design was the grand wall of distinctive lights located at the back of the stage. These lights could change color and effulgence to various levels depending on the time and place of the current scene. For example, during Stew’s time in Amsterdam, the lights were spectacular, scintillating, and colorful. This showed the…

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    The Robert S. Marx Theatre houses a variant thrust stage with semi-circle seating. This space causes for a very intimate set design and causes the audience to feel and respond as if they are a part of the show. Michael Schweikardt was the set and puppet designer of the show. The set was a display of naturalism with parts of realism and expressionism. Theater can never be fully realistic because of the presence of the “fourth wall”. The design had curved facing with a cartoon-like street painted…

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    their book “Scenic Art for the Theatre: History, Tools and Techniques”, Susan Crabtree and Peter Beudert emphasized, “Don’t draw things; draw relationships. It’s so simple: just put every brush stroke in the right place.” The quotation basically summarizes the job of a scenic designer, who is responsible for bringing the world of the production onto the stage. The scenic designer (or set designer) is expected to fulfill five basic goals in order to design an overall concept for the play.…

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    Die Bruke Play Analysis

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    decoration drama” by Dernhard Diebold for the Fankfurter Zeiturng. He continued on to say, “it was utterly devoid of any character development, language, and purpose”. Critic Rober Breuer did not consider the play’s scenic elements useless, but did complain that “the words which were simultaneously spoken, are remembered only as th subtitles under the extremely powerful images” (Schvey). Not all was criticism was bad, “The playwright Paul Kornfeld praised the revolutionary drama as a…

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    people of the world. As I grew older, my father, who is an architectural designer, took me to his office and introduced to me his actual work every day. I was immersed by the design drawings showed on his computer, thinking that how the buildings and landscapes were designed. This experience firmed my resolution to become a landscape designer in the future. With this resolution, I chose to be an art student before the College Entrance Examination. During that time, I left home early every day…

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