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Tartuffe set design
Transcript of Tartuffe set design
I would like the audience size to be around 200. That way there is still a sense of community and intimacy.
Example of Stage Type
I would build the floor and window units and borrow the table from ABC rentals. I would try to commission an artist to make a rendering of the King for the set. That way the picture would match the actor playing the King.
Set Design: J.D.C.
Set Design for
French theatre during the 17th century was greatly influenced by the Neoclassical Style. This was a movement that focused on recovering the Ancient Greek principles of theatre as written in Aristotle’s, Poetics. Neoclassicists supported the rule of the Three Unities. They felt that for a play to be believable it should have:
1) Unity of Action—it should tell one story with a limited number of characters. No subplots.
2) Unity of Time—all the events should take place within a single 24 hour period.
3) Unity of Space—the story should take place in a single location.
conforms to all three unities. It tells a single story, that happens on a single day and all the action takes place in one house.
This means that there is never any need to change around the set for
I would like to create a split level platform set showing a main room in
Orgon’s house and all the scenes will take place in this room. The color plot would be gold and white. The arched doorways, elegant paneling, and family portraits let the audience know that this is a wealthy man’s house. While the furniture, doorways and alcoves create lots of options for people to hide and/or listen behind doors (which happens a lot in Tartuffe).
The practicals would have a modern touch inspired by the picture above. This would allow the world to look a bit off, just like the world of Tartuffe!
- Candelabra with candles
- Table (That one can hide under)
- Fake flowers (represent hypocricy
- Painting of King
- 17th century French furniture, with a modern edge
- Mirrors to show ones true reflections
Neoclassical architecture is an architectural style produced by the neoclassical movement that began in the mid-18th century. This is the style of Moliere and reflects the opulence that Tartuffe pretends to reject.
In form, Neoclassical architecture emphasizes the wall rather than chiaroscuro and maintains separate identities to each of its parts. The style is manifested both in its details as a reaction against the Rococo style of naturalistic ornament, and in its architectural formulae as an outgrowth of some classicism features of Late Baroque. Neoclassical architecture is still designed today, but may be labeled New Classical Architecture for contemporary buildings.
Andrew Skurman, "Contemporary Classical: The Architecture of Andrew Skurman", Princeton Architectural Press, 2012
Benedetti, Jean. 1999. Stanislavski: His Life and Art. Revised edition. Original edition published in 1988. London: Methuen. ISBN 0-413-52520-1.
Garreau, Joseph E. (1984). "Molière", vol. 3, pp. 397–418, in McGraw-Hill Encyclopedia of World Drama, Stanley Hochman, editor in chief. New York: McGraw-Hill. ISBN 9780070791695.
Koppisch, Michael S. (2002). "Tartuffe, Le, ou l'Imposteur", pp. 450–456, in The Molière Encyclopedia, edited by James F. Gaines. Westport, Connecticut: Greenwood Press. ISBN 9780313312557.
Molière (1669). Le Tartuffe ou l'Imposteur. Paris: Jean Ribov. Copy at Gallica.
Brockett, Oscar. 1964. "THE THEATER, an Introduction" published Holt, Rhinehart,and Winston. Inclusive of University of Iowa production, "Tartuffe", includes "The Set Designer", set design and Thesis, a three hundred year commemoration, "A Project In Scene Design and Stage Lighting for Moliere's Tartuffe", by Charles M. Watson, State University of Iowa, 1964.