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Transcript of Technical Theatre
Introduction to Make-up Tools:
Thin liner crush-wrinkles and shadows
Wide liner brush-highlights and eye shadow
Brown cream liner-wrinkles around the eyes
Stipple sponge-five o' clock shadow and texture to wounds
Liner pencil- eye liner
Morticians wax-wounds, noses, etc.
Crepe hair-for beards and mustaches
Powder brush-non cream blush
As actors, directors, and designers, why is it important that we realize appearance is the top percentage of peoples overall impression of a person's nature and personality?
The role of the costume designer is to help communicate the character to the audience, which can also help the actor as they portray their particular character.
Within groups of 4-5, you will choose one person to be the model for the group. After models have been assigned you will use the paper, tape and scissors to create a costume of a well known cartoon character. Your job is to create a costume that will help the class recognize the characters. You will only have 7 minutes. GO!
What helped you to know who the characters where? What did the group's choices in costume reveal about the characters?
As a designer, each choice communicates something, and so the designer must be very particular and intentional with each one.
The designer takes what they know from the play and the directors concept or vision for the production to create their own concept for the costume design. (Punk Rock Shakespeare!)
Concepts for Costumes
Interpretation of Period
Interpretation of Color and Fabric
Not only does the costume communicate concept, but there are other things that are essential to communicate through costumes. Such as:
In groups of three, I want you to interpret what the character might be like based on the design. Observe the colors, textures, style etc..
You are to put this information to practice. You will pick one character from one fairytale and create one costume sketch for the character. You will have one class period to finish this. The sketch is a drawing of the clothing on a character with some descriptions of the color and fabric choices. You will be allowed to color it. Then write a paragraph description on the back explaining the choices your made.
These tools, along with many others are used to help change the appearance of an actor to fit the appearance of a character. With make-up, we can make a young actor look older, make an old actor look younger, make parts of the face more pronounces, make them look ill, give them wounds, make them look dead, glamorous, etc.
How does make-up contribute to a production?
How can make-up further develop a character?
How does it add to the costuming element of design?
Pay attention to what the make-up does for the character and for the actor.
How does the make-up further the character of Edward?
What do you think it does for the actor?
Now I'm going to show you another clip of the same actor but in a different movie.
How does the make-up enhance the character? What does it do for the actor?
Those clips showed the same actor, but two very different characters. What does that tell you about the abilities of make-up? We saw two different styles of make-up, one was a more obvious change and the other although it may have taken the same amount of make-up was simpler, creating a more believable look. The first was more conceptual.
What things should a make-up designer consider when designing for a character in a production??
You will find a partner and choose a villain from a fairytale of your choice and create an original design for the character.
Original means it is something new that you have created.
Each group will turn in their own design sheet.
You are to label your design, with colors, not necessarily super specific but more specific than red and blue, it could be dark red, sky blue, etc.
Then justify or defend your choices on the back of your design to be turned in at the end of the period tomorrow.
In groups of 3 or 4. You will be creating set pieces with your bodies. You will have 5 seconds to create the furniture that I call out, for example, I might call out chair and you will have to the count of 5 to create a chair.
When designing a set, it is important to remember these things:
number of locations
socioeconomic status of characters
and characters within the production you are designing for
Why it is important to take those elements into account. “What effect does each element have on the design of the set?” “What might happen to the production if the designer did not consider these points?”
Other things might a set designer need to consider when designing.
Budget, needs of the director, time, what is called for in the script, etc.
Why must a set designer be aware of these elements?
How do you think a designer can adhere to both creativity and practical considerations?
There are 3 different types of sets:
Little Red Riding Hood
Create a set design for Grandma's house in Into the Woods.
The floor plan needs to be detailed and help the audience gain more insight into the character.
You need to consider the scene and how you will interpret that for the stage.
You will turn in a set design with a detailed list justifying your choices.
Each of you will get one card with a color written on it.
The cards will be the 3 primary colors of light and 3 secondary colors of light.
Think of the meanings of the color that we discussed earlier in the unit.
Find the people who have the same color written on their card as you.
Once you have found your groups, write a list of the meanings of those colors on a piece of paper.
You may choose one group member as scribe.
This is a review from earlier in the unit.
You will create a character that possesses all of those qualities that you have written down.
The character should have a name, occupation, and a goal.
We should know as much background information as possible, as long as you are using the qualities you wrote down to support your information.
You have 2 minutes to do this. Go.
Today we will be learning about lighting design.
There are 4 specific controllable qualities of light:
Color (gels or filters)
Distribution (angle, shape, quality)
Intensity (brightness or darkness)
Movement (duration of light cues, movement of onstage lights like candles or lanterns, offstage lights like follow spot).
Each of these helps to add to the production, setting a mood for the audience. The designer may choose to combine all of them or just a few, each having a particular impact.
Each of them has a color that is either a primary or secondary color of light.
Does anyone know how we are able to change the color of a light?
How might you use colored light to enhance production?
Why do people identify so much with color?
Where do the meanings come from?
Lets watch this clip from a Cirque du Soleil performance.
I want you to observe how the colors of the lights change or add to the mood.
What colors did you see?
Was the lighting effective?
How did the lighting change the mood?
What could we do if we didn't have colored light, and we only had white light?
We are going to watch a music video from Coldplay.
Watch for distribution of the lights and movement and its' effect on the audience.
What elements of movement did you see?
What elements of distribution did you see?
Was the lighting effective?
How did the lighting change the mood?
So far we have discussed costumes, make-up, set, and lighting design.
These are to help a play become more real to the audience.
But even if we had all of those elements, if the actors didn’t have any props, the audience wouldn’t believe what was happening onstage anymore.
Props must be chosen carefully and deliberately.
Find the Props!
(7 minutes): Get out a piece of paper and pen or pencil.
Watch The Importance of Being Earnest clip.
Write down as many props as they see.
Find the Props!
Count up the number of props you wrote down.
Who thinks they have the most props.
Name off the props you wrote down.
Student Volunteer can write these up on the board.
Types of PROPS
There are 3 different kinds of props:
1.) Set Props
2.) Hand Props and
3.) Set Dressing.
larger movable items, not built into the set that are used in some way by the actors. Examples: furniture, floor lamps, rugs, stoves, tree stumps, swings, etc.
small items that are handled or carried by the actors. Examples: plates, cups, letters, books, fans, lanterns, etc.
all things that are used to enhance the setting visually but are not specifically touched by the actors. Examples: window curtains, pictures, doilies, table lamps, books in a bookcase, etc.
What do you think a prop designer needs to keep in mind when gathering props?
Let's brainstorm how we think props are acquired.
Get into groups of 2 or 3.
Each group will find their own space in the room, bringing a pencil/pen and something to write with.
Each group will choose a fairy tale:
Three Little Pigs, Goldilocks and the Three Bears, or Hansel and Gretel.
Read over the script and make a list of props you would need if you were to perform the fair
After you have made your list, pick a prop from the list and design your own prop.
Draw the prop as best as you can.
After you draw your prop, you need to describe in detail what the prop needs to look like- time period, condition, how large, color, any special considerations, etc.
Then suggest two ways of acquiring it- how they think they might build it, an idea of a place you might buy the prop, etc. This must be turned in at the end of the 20 minutes.
Number of Costume Changes
Look at these different designs for Scar from the Lion King