Preparing for Peter and the Starcatcher seemed like a project that would not be able to come together in time for opening night. The wooden planks that were used for the ships deck took lots of time and effort on the part of the men and women who designed and built them. Also, the rolling trunks, how they would add to the overall play design, and how they were to used while on stage. While working on the mesh backdrop, which hung at the back of the stage, I wondered how the audience would perceive it and if my spray job would be noticeable. The lighting of the stage was also a factor because we, as a Theater 106 class, worried about how the light would reflect off the objects that we had been working on. Peter and the Starcatcher came together …show more content…
Even before the play started I knew that these planks would give the show a look of authenticity and bring life like movements to the stage. As the project started the boards were cut at irregular patterns to try and match the awkwardness of a boat deck, and in watching the play I could see how these patterns came together and it gave the audience a feeling that they too were aboard a boat. Not only did the lay of the wood add to the feeling of the ship, but the color in which the boards had been painted. The paint brought out a rustic look and feel to the play, and allowed the audience to feel entranced by its color and wood grain texture. I did paint some of the boards for the deck and the process was easier than I thought it would be. Using a brush with a very light brown paint and a water mixture brought the wood to life and transported me back into the 1600s. It was not only the color that brought the deck to life, but it was also the fact that it was real wood and built like a ship deck. When a trunk would roll on the deck it sounded like it would if you were aboard a ship, and when actors jumped and ran across the stage the audience could see the give of the deck and how the actor had to maneuver to get across safely. The wooden deck was the best scenic deign of the play because it brought so …show more content…
The lighting for the show added yet another layer to this show and its production. The lighting was used in many different ways from the stardust to the lighting of a lantern. Not only did the lighting bring color to the stage but it brought color to the audience as well. A part in the play that I remember well is when the trunk is brought out and it is carrying the stardust, and when the stardust is activated and the lights are blinking within the trunk. This moment in the play captured my attention because the subtle use of the lights was just enough to grab the attention of the audience. The use of the lights in this moment brought the audience members to become engaged with the story on an even deeper level. Peter and the Starcatcher was able to use lighting in a subtle way to bring out the nuances of the characters and scenery of the play. Now, the lighting did bring out many colors within the backdrop. This backdrop, which I helped to paint, brought another color to the stage. Upon working with the backdrop I had a hard time thinking of how it would look to the audience. Although I had my doubts about the effectiveness of the netted backdrop they were washed away as the play opened and they blended in perfectly. The dark green paint covered just enough of the netting to give it a seaweed feel for the audience to
Looking at the convention Mulitmedia, Stibbard used sound and projections. The space Stibbard used was large and was all painted black, like a floor plan, he would draw in his props with white chalk, he would pause the play to explain what he just drew, this goes on to V-effekt. Back to stagecraft, everything was in plain view, the projector stayed on stage the entire time. The set is split into three sections, a square for Thom’s apartment, a square for Alethea’s apartment, and a corridor where the days of the week are. The lighting on set is used for location, to locate
The use of lights throughout the play did not vary often. Throughout most of the play, bright overhead lights portrayed the play’s main set room: a small town beauty salon. The lights created an atmosphere that was not only cheerful, but also warm and inviting. On each side of the stage, warm, more natural lighting was used to make the small outdoor areas more realistic. Lights were also used to convey
Staging and costuming a show for the stage requires a lot of time and hard work. When staging Angels in America: A Gay Fantasia on National Themes one would have to consider how to dress each individual character and how to split the scenes to have them flow with the different characters. For example, the scene where Joe leaves Harper at the same time as Louis leaves Prior has to be staged carefully so that the audience understands what is happening. The playwright Tony Kushner allows for overlapping in conversations, but the director of the play has to figure out how to make the scene have an impact on the audience. The play examines significant themes of the time period such as religion and sexuality as well as AIDS. The play has to be presented cautiously to have a significant impact on the audience.
The lighting in the performance was fairly basic, for the large majority of the play the lighting was constant. It’s primary use was for functionality purposes, such as to light up the stage so the audience could see, and not to convey any special meaning or set any kind of mood. There were two different types of instances were the lighting would change, too show a passage of ti...
In "Constant Star", lighting told much about the play as soon as it began. Low, yellowish lighting and a bit of fog spread by ceiling fans filled the stage as the play started. This gave the stage the look of an old photograph, so the audience immediatly gathered that the show was taking place in the past. The mood was often set by lighting as well. Red lighting gave the audience a sense of foreboding while yellow indicated happy times. Also, lighting could substitute for props. During scenes involving the train, lights would flash on and off, making the stage look as if it was actually moving. This effectively created the illusion that the cast was on a train. Also, lighting was innovatively used to create a "jail" in one of the scenes by creating vertical bars on the stage around the convicts.
The setup of the stage was very simple. It was the living room of a home in the early 1980’s. It looked like a normal household, and it had small things such as crumpled up pieces of paper lying around the wastebasket. It also had a couch, circular class table and a recliner in the living room. The dining room was to the left side of the stage and only had the dining table and surrounding chairs. There was a door in the back of the set where characters entered and exited through. Beside the door was a table and stool where Willum presumably worked on his blueprints for the hotel. The lighting design was great; it put you into the atmosphere of the
The scenery shows realistic sets in the play. The text is very episodic that show the parts of the events in a story. The conflict shows a rough experience of growing up with adults, who are treating the orphaned boys very abusive and having some troubles on where they belonged. Peter, other boys, and Molly have some kinds of conflicts about being a leader and succeeding the mission where the Lord Astar (Molly’s father) have to send to Molly. The conflict has already resolved when they have completed their mission and kept their group safe. It also affects my overall experience that the conflict between different characters did show different perspectives on how they lead and express their experience of leadership in their mission. The space of the theater was small, but it’s large enough for the actors to perform and for the audience to see. The scenery designer Andrew Breithaupt of this play did show a specific place and time. For example, the beginning shows the ship and what era is it. The scenery is also very real locale in the play, and it’s very appropriate views toward the audience for non-professional and school play. The scenery of this play did show more realistic-moving type, but it did move some parts of the scene that I see in the play. Also, it showed the surprising element of changing the sets than the scene. Costume Designer Amy Zsadanyi-Yale did give the clues about the timeline, personalities of every character in the play. But I believe that the costumes should get focused on connecting the situations in the play. For example, an orphanage that the nameless boy (Peter) and other boys lived should have ragged-looking or something damage into the costumes so it can create an effect on costumes from the scene. The costumes show the conflicts and interpersonal relationships, but I should consider that the social groups in this play should look something different from the orphanage and upper class. Lightning and
The cinematography enforced the mood, drama, and plot. The use of color in the film was telltale of the mood. The colors were drab, lifeless, mellow colors. These colors were telltale signs of the setting and mood of the play. The setting was in a sorrowful, dirty, suffering country; the mood was sorrowful and suffering as well.
The stage was in proscenium form so it allowed most audience members to have the same amount of viewing as others throughout the theater. Due to the theatre space being so small and intimate, it created the relevant atmosphere of everything on stage happening to be small.
The lighting in this movie is very effective. It helps to establish the characters very well. The audience is helping in distinguishing the bad and the good characters through the lighting. The movie overall is very stylized. There are some other strange lighting patterns brought out by Hype Williams, but by far the most effective lighting patterns are ones that help to characterize the main players in the film.
The director’s concept was again realized in a very creative and simple way. The stage crew did not have time to literally place trees on the stage, or to paint a border that elaborate—the light made the slatted walls look real and really allowed the audience to become a part of the experience.
Without light, the theatre cannot exist, that much is certain. As actors, as audience members, as technical visionaries, we are only as powerful as the light we are given. The extent to which we depend upon light in performance has changed dramatically throughout history, however, as light technology developed and expanded. In the history of performance, the artistic community is constantly victim to the limits of lighting technology, and exponentially altered by breakthroughs. From the utilization of candles and natural light to isolated light and electricity, the histories of illumination and theatre are virtually inseparable, and continue to push the boundaries of live performance.
The lighting played a major role in setting the tone for both the theatre performance and the movie. In both the film and play, the lighting was dimmed and the non-important elements, such as background elements, were often hidden in the shadows. In the film the murky lighting also hid Todd in the shadows, in order to increase the suspense and further emphasize his intimidating demeanor. In the play,
The lighting was also very effectively used to show the coming and going of cars on the set. The reflection of lights on the front door of the house were used resemble those of an automobile. Even the final scene had just enough absence of light that the shadows of the characters could be seen sitting around the dinner table and praying by candlelight. At the very end of the performance the candles were extinguished consuming the set in blackness in turn signifying the end of the production.
I have never once been to a show where a change in lighting made me gasp in surprise; but at the beginning of Act Three, when the lights changed from a soft warm light to a harsh fluorescent truly blew me away. It sets the tone for the entire second half of the play, and I thought the way they went about utilizing the lighting was truly brilliant. I also found the dripping water in the Proctor’s home to be very impressive. It made the entire universe that much more realistic. As I watched the real drops of water drip from the ceiling and into the bucket, I was mesmerized and 100% engaged in the story that was happening. I have seen lots of great productions, with tons of brilliant actors, but I find that the little things, like special effects, and lighting is really what impress me when I go to see a show. The technical aspects of theater are truly what made a fine production great, and I like to pay complement where complement is