WORTH: 10 points WORD COUNT: 250 - See below for details COUR SE OBJECTIVES (CO) \& ANCILLARY LEARNING OUTCOMES (ALO): CO1. Discuss the technical building blocks of theater, as well as the inclusive role theater plays in the Humanities in a broader sense. CO4. Demonstrate the ability to identify the various theatrical genres by such aspects as costuming, writing characteristics, performance characteristics, stage design and associated personalities. ALO 2. To identify the function and skills of the actor, the director and the designers who collaborate to create a work of Theatre. ALO 3. To acknowledge the place that "interpretation" plays in the Theatre (...and life). ALO 6. To define and revel in one's own theatrical and artistic aesthetic and thus to better understand oneselfi WHAT: This project focuses on the Visual aspects of Design, or what Aristotle called "Spectacle," in the Theatre. NOTE: This is a project that requires your creativity. Do not get bogged down in things like measurements and logistics. Focus on the aesthetic (remember that word from the beginning of the semester?) of your design choices. Accessibility Notice: This is a Visual Project. Most of the content of the project is based on creating a visual design. If any student is not comfortable with or is unable to produce something that is based on colours, shapes and images in general, please email me immediately for an alternate assignment. THE CHOICES Do you want to be a Costume Designer? OR Do you want to be a Scenic Designer? - Please choose only one. - Please consult Chapters Sixteen and Seventeen to help you with your choice. THEN... Choose your play. There are four scripts posted to a sub-module in Module Five. They are: 1) Death of a Salesman by Arthur Miller 2) Long Day's Journey into Night by Eugene O'Neill 3) The Glass Menagerie by Tennessee Williams 4) The Piano Lesson by August Wilson - Each of these plays is a classic 20th Century American play written by one of the great playwrights of that century. - Each of these plays is set in a time period during the 20th Century and both the Scenic Design and the Costume Design should reflect the place and the time period. None of these plays should look or feel "modern." - Each of these plays will have a bevy of information online, including a plot synopsis, character descriptions and themes that can help you make your choice. Please feel free to email any questions or to ask for advice in making your choice. THE PROCESS 1) Read your play. Multiple times. 2) Then, complete some research before you begin: * Research the time period and the place based on what you learned about the plot and characters. For instance, if your play is set in Elizabethan England, do a search on what buildings and interiors (for set) or garments (for costumes) looked like in that time and place. - HINT: Every single one of the plays chosen has specific needs in regards to Scenic elements or Costume elements. If you think, at first, that your play can simply be set in modern-day "regular" North America, check again! * It is fine if you wish to look up other productions of this play. Just keep in mind that, not only must your work be original, other productions may not feature fully-realized scenery or costumes. You are expected to design for this project as if you have a limitless budget and as much space and as many resources as your heart desires. (I wish it was always that way in the Theatre! It is not.) * Look at Examples! - There are several examples posted to a sub-module for your perusal in Module Five. - (Those of you looking at examples of Costume Design might recognize Julie Taymor's work from The Lion King, featured in Chapter Twelve.) - There are also myriad other examples of set and costume sketches, models and collages that can be found by a using an online search engine. 3) Write your Design Concept Statement. * Yes, there is a written component to this project, but it is better to keep it brief, as this is a visual project. - No less than 250 words. No more than 300. * Be clear and concise. The goal of the project is less about describing in words and more about presenting the visual elements of your concept. So, the statement should use visually descriptive language. * Discuss, briefly, the essential details of the play such as issues of geography, nationality, or even ethnicity of the characters. Also address class, age and relationships of characters since all design elements should come directly out of the truth of their lives. * You can always amend or change your Design Concept Statement later if things change a little while working on the project. * The design concept is not a plot synopsis. It may need to include basic plot points, but do not take up your time or word count writing a full synopsis. - I am extremely familiar with every one of these plays. So, I do not need the plot described. Please don't waste your words doing so. * These are two examples of Design Concept Statements: SUCCESSFUL EXAMPLE of a Design Concept Statement: This student stayed focused on the Scenic Design without using her valuable word count to describe the plot. Also, she explains why she made the choices that she made. 4) You've done your research (and taken notes). Now you can begin the creative process: * Choose your medium. Look at the examples posted to help you decide. - Making a model [only for Scenic Designers]: If you are confidant and comfortable using your hands to build things, then this might be the choice of medium for you. - Drawing/Painting: If you comfortable and confidant drawing, sketching or painting, then this might be the choice of medium for you. - Collage: If you are not comfortable building or drawing but you can use scissors and glue, then this is your medium of choice. > You can make a digital collage if you prefer, but please include citations for where you found the images since, even images are copyrighted and can be subject to issues with plagiarizing. * Whatever medium you choose, know that the assignment is to submit ONE IMAGE. - If you choose to make a model or a drawing, simply take a picture of it. Or create a detailed digital painting or drawing. - If you choose to make a collage, simply take a picture of it. Or make a digital collage. DO NOT attach multiple images without bringing them together as one cohesive collage. Students who simply upload several photos that are not presented as a collage, will not receive full credit. * Gather supplies or software. - If you are going to draw/paint yourself then you will need to either own or purchase paint, coloured pencils or markers or feel comfortable using drawing or graphic design programs. I have no preference as to the media material you use as long as it is predominantly in colour. There is one exception = no crayons. They are not precise enough. - If you are going to make a collage, decide if you are going to look for materials in print (magazines, newspapers, etc.), from online resources or elsewhere. For instance, if you are the costume Designer, then fabric samples are appropriate to affix or insert into your collage or drawings. If you are the Scenic Designer, images of raw materials like pieces of metal or wood are appropriate to affix or insert into your design. * Now, let the ideas flow. Anything goes here as long as it supports the plot, characters, time and place of your play. Make choices based first and foremost on those four things. Including a brief explanation of your choices can be part of your written Design Concept. - Make design choices as if you have an unlimited budget. * Be as specific and as detailed as possible in all your choices! * Enjoy! Some thoughts specific to Scenic Design: - Each of the plays from which to choose only require a single set. That means that all of the play's action takes place in one location. Or, if there is an additional location for one scene, a single of furniture can represent that scene. - EXAMPLE: Most of the play takes place inside of a house. That house needs to be built onstage, possibly with multiple rooms. If there one scene where a character goes to the library, then the lights would go out on the house and come up in a small area downstage [the front of the stage] where the character would be standing with one shelf of books. - Never be fooled by the idea that scenery may be described in a simple manner or that the location is a humble or antiquated place. A good set has many, many details that support the storytelling and the action of the play. Your job is to pluck out the details and incorporate them into your design. - Look for clues throughout the script for "props" (stage properties are objects that actor's handle in some way, shape or form, when they are in character on stage). If the script calls for a prop to be present, then it is needs to be present in your design. - You, as the Scenic Designer are responsible for helping to set the mood and atmosphere of the play. You are also responsible for conveying time and place in the play. Rarely does a good playwright write a line like, "Well, here we are in Boston, Massachusetts about to toss some tea into the sea." The audience has to see time and place. So, you would need to spend some time researching what the city of Boston looked like in the winter of 1773. Some thoughts specific to Costume Design: - You are responsible for designing costumes for four characters. All of the play from which to choose have at least four characters. If there are more than four, choose just four. If any given character has costume changes (which means they wear more than one costume in the course of the play), pick the one outfit that definitively conveys something about their character. - If it makes sense to the character and the play, costumes can be flashy, fabulous and attention-grabbing BUT, remember that actors, unlike models, need to have a full range-ofmotion. Actors have to be able to walk, sit, stand-up, etc. and still breathe while in costume in order to deliver their lines. - The Costume Designer is responsible for helping to define character and shape the character's movement. You are also responsible for conveying time and place in the play. Rarely does a good playwright write a line like, "Well, here we are at a ball in honor of Louis XIV's ascension to the throne." The audience has to see time and place. So, you would need to research what the French aristocracy were wearing in the Spring of 1643 . WORTH: 10 points WORD COUNT: 250 - See below for details COUR SE OBJECTIVES (CO) \& ANCILLARY LEARNING OUTCOMES (ALO): CO1. Discuss the technical building blocks of theater, as well as the inclusive role theater plays in the Humanities in a broader sense. CO4. Demonstrate the ability to identify the various theatrical genres by such aspects as costuming, writing characteristics, performance characteristics, stage design and associated personalities. ALO 2. To identify the function and skills of the actor, the director and the designers who collaborate to create a work of Theatre. ALO 3. To acknowledge the place that "interpretation" plays in the Theatre (...and life). ALO 6. To define and revel in one's own theatrical and artistic aesthetic and thus to better understand oneselfi WHAT: This project focuses on the Visual aspects of Design, or what Aristotle called "Spectacle," in the Theatre. NOTE: This is a project that requires your creativity. Do not get bogged down in things like measurements and logistics. Focus on the aesthetic (remember that word from the beginning of the semester?) of your design choices. Accessibility Notice: This is a Visual Project. Most of the content of the project is based on creating a visual design. If any student is not comfortable with or is unable to produce something that is based on colours, shapes and images in general, please email me immediately for an alternate assignment. THE CHOICES Do you want to be a Costume Designer? OR Do you want to be a Scenic Designer? - Please choose only one. - Please consult Chapters Sixteen and Seventeen to help you with your choice. THEN... Choose your play. There are four scripts posted to a sub-module in Module Five. They are: 1) Death of a Salesman by Arthur Miller 2) Long Day's Journey into Night by Eugene O'Neill 3) The Glass Menagerie by Tennessee Williams 4) The Piano Lesson by August Wilson - Each of these plays is a classic 20th Century American play written by one of the great playwrights of that century. - Each of these plays is set in a time period during the 20th Century and both the Scenic Design and the Costume Design should reflect the place and the time period. None of these plays should look or feel "modern." - Each of these plays will have a bevy of information online, including a plot synopsis, character descriptions and themes that can help you make your choice. Please feel free to email any questions or to ask for advice in making your choice. THE PROCESS 1) Read your play. Multiple times. 2) Then, complete some research before you begin: * Research the time period and the place based on what you learned about the plot and characters. For instance, if your play is set in Elizabethan England, do a search on what buildings and interiors (for set) or garments (for costumes) looked like in that time and place. - HINT: Every single one of the plays chosen has specific needs in regards to Scenic elements or Costume elements. If you think, at first, that your play can simply be set in modern-day "regular" North America, check again! * It is fine if you wish to look up other productions of this play. Just keep in mind that, not only must your work be original, other productions may not feature fully-realized scenery or costumes. You are expected to design for this project as if you have a limitless budget and as much space and as many resources as your heart desires. (I wish it was always that way in the Theatre! It is not.) * Look at Examples! - There are several examples posted to a sub-module for your perusal in Module Five. - (Those of you looking at examples of Costume Design might recognize Julie Taymor's work from The Lion King, featured in Chapter Twelve.) - There are also myriad other examples of set and costume sketches, models and collages that can be found by a using an online search engine. 3) Write your Design Concept Statement. * Yes, there is a written component to this project, but it is better to keep it brief, as this is a visual project. - No less than 250 words. No more than 300. * Be clear and concise. The goal of the project is less about describing in words and more about presenting the visual elements of your concept. So, the statement should use visually descriptive language. * Discuss, briefly, the essential details of the play such as issues of geography, nationality, or even ethnicity of the characters. Also address class, age and relationships of characters since all design elements should come directly out of the truth of their lives. * You can always amend or change your Design Concept Statement later if things change a little while working on the project. * The design concept is not a plot synopsis. It may need to include basic plot points, but do not take up your time or word count writing a full synopsis. - I am extremely familiar with every one of these plays. So, I do not need the plot described. Please don't waste your words doing so. * These are two examples of Design Concept Statements: SUCCESSFUL EXAMPLE of a Design Concept Statement: This student stayed focused on the Scenic Design without using her valuable word count to describe the plot. Also, she explains why she made the choices that she made. 4) You've done your research (and taken notes). Now you can begin the creative process: * Choose your medium. Look at the examples posted to help you decide. - Making a model [only for Scenic Designers]: If you are confidant and comfortable using your hands to build things, then this might be the choice of medium for you. - Drawing/Painting: If you comfortable and confidant drawing, sketching or painting, then this might be the choice of medium for you. - Collage: If you are not comfortable building or drawing but you can use scissors and glue, then this is your medium of choice. > You can make a digital collage if you prefer, but please include citations for where you found the images since, even images are copyrighted and can be subject to issues with plagiarizing. * Whatever medium you choose, know that the assignment is to submit ONE IMAGE. - If you choose to make a model or a drawing, simply take a picture of it. Or create a detailed digital painting or drawing. - If you choose to make a collage, simply take a picture of it. Or make a digital collage. DO NOT attach multiple images without bringing them together as one cohesive collage. Students who simply upload several photos that are not presented as a collage, will not receive full credit. * Gather supplies or software. - If you are going to draw/paint yourself then you will need to either own or purchase paint, coloured pencils or markers or feel comfortable using drawing or graphic design programs. I have no preference as to the media material you use as long as it is predominantly in colour. There is one exception = no crayons. They are not precise enough. - If you are going to make a collage, decide if you are going to look for materials in print (magazines, newspapers, etc.), from online resources or elsewhere. For instance, if you are the costume Designer, then fabric samples are appropriate to affix or insert into your collage or drawings. If you are the Scenic Designer, images of raw materials like pieces of metal or wood are appropriate to affix or insert into your design. * Now, let the ideas flow. Anything goes here as long as it supports the plot, characters, time and place of your play. Make choices based first and foremost on those four things. Including a brief explanation of your choices can be part of your written Design Concept. - Make design choices as if you have an unlimited budget. * Be as specific and as detailed as possible in all your choices! * Enjoy! Some thoughts specific to Scenic Design: - Each of the plays from which to choose only require a single set. That means that all of the play's action takes place in one location. Or, if there is an additional location for one scene, a single of furniture can represent that scene. - EXAMPLE: Most of the play takes place inside of a house. That house needs to be built onstage, possibly with multiple rooms. If there one scene where a character goes to the library, then the lights would go out on the house and come up in a small area downstage [the front of the stage] where the character would be standing with one shelf of books. - Never be fooled by the idea that scenery may be described in a simple manner or that the location is a humble or antiquated place. A good set has many, many details that support the storytelling and the action of the play. Your job is to pluck out the details and incorporate them into your design. - Look for clues throughout the script for "props" (stage properties are objects that actor's handle in some way, shape or form, when they are in character on stage). If the script calls for a prop to be present, then it is needs to be present in your design. - You, as the Scenic Designer are responsible for helping to set the mood and atmosphere of the play. You are also responsible for conveying time and place in the play. Rarely does a good playwright write a line like, "Well, here we are in Boston, Massachusetts about to toss some tea into the sea." The audience has to see time and place. So, you would need to spend some time researching what the city of Boston looked like in the winter of 1773. Some thoughts specific to Costume Design: - You are responsible for designing costumes for four characters. All of the play from which to choose have at least four characters. If there are more than four, choose just four. If any given character has costume changes (which means they wear more than one costume in the course of the play), pick the one outfit that definitively conveys something about their character. - If it makes sense to the character and the play, costumes can be flashy, fabulous and attention-grabbing BUT, remember that actors, unlike models, need to have a full range-ofmotion. Actors have to be able to walk, sit, stand-up, etc. and still breathe while in costume in order to deliver their lines. - The Costume Designer is responsible for helping to define character and shape the character's movement. You are also responsible for conveying time and place in the play. Rarely does a good playwright write a line like, "Well, here we are at a ball in honor of Louis XIV's ascension to the throne." The audience has to see time and place. So, you would need to research what the French aristocracy were wearing in the Spring of 1643