Ground Plan:

Birds Eye View:

My phobias are Automatonophobia and Eisotrophobia which mean fear of human-like figures and fear of mirrors respectively. This set is to be in a normal house with a family but the members of the family are all wax figures. They appear to be smiling but when you look at any one of the mirrors hanging on the wall, you would see that the wax figures are staring angrily into them. I decided to make this house very messy with dolls and shattered glass that has fallen from mirrors lying on the floor to enhance the phobias because in every corner you walk into, something related to mirrors or human-like figures will be there. (dolls=symbol of automatonophobia and broken glass=symbol for mirrors). These are repeated symbols throughout the whole set design. I decided to use different types of shapes to make the set design slightly more interesting to look at. For example, there are normal shapes like rectangles for the table and some mirrors but there are also more curved shapes for the clock and the mirrors next to it.

Mood board:

I chose to do Automatonophobia, the fear of human-like figures, and Eisoptrophobia, the fear of mirrors. I decided to combine both of these phobias because I thought they fit well with each other and would make it scarier. I have never heard of both of these phobias and I think they are unique so I decided to use them.

Analysis:

Color:

The color predominantly used is black. I wanted to make the atmosphere and look of the whole mood board darker because I think the phobias would be scarier if they were surrounded by a dark color.

Symbol:

I wanted an eye to be a symbol seen a lot in this mood board because I want to add an effect that there is something always watching you, whether its you in a mirror or someone else around you.

Image:

I chose images that showed the color, lighting, space, and broad idea/vibe that the phobias give me.

Texture:

I added an image of broken glass on the floor and two pictures of sharp and spiky shapes. This is to elevate the uncomfortable feeling the audience might get by looking at a rough/spiky texture.

People:

There are no specific people in this mood board other than figures that look human-like.

Locations:

There is one picture of a deserted location with a small group of people spaced out. This is to enhance the loneliness someone might feel yet know that there is still someone or something watching/with you.

Emotions or Feelings:

The emotions evoked from this are frightening and an uneasy feeling because the pictures are very eerie and daunting.

Movement:

There is no movement because the human-like figures (dolls or wax figures) are unable to move.

Ground plan:

Elevation:

1. Scenic Design – The aspect of a production that gives a sense of ‘space’ or ‘location’. Can be realistic or symbolic. Aids in creating an ‘atmosphere’
2. Mood Board – A poster that contains imagery or that will help focus the design or conceptual weight of a piece of theatre
3. Thumbnail Sketch – A quick sketch or drawing that becomes the starting point for a design
4. Stage Configuration – The layout of the stage in the theatre you are producing the play in
5. Ground plan/”Birds Eye View” – The top-down look of the design. Gives you an idea of WHERE things are on the stage
6. Elevation – The FRONT look of the design. Gives you an idea of what you will see when you are looking at the stage
7. Flat – A scenic piece that is used to build doorways or walls. Light, flexible, and can be built to order
8. Sightlines – The view of an audience onto the stage. Sightlines are taken from many different seats to see what they see.
9. Masking/Masking flats – Flats or curtains designed to ‘hide’ the elements of the stage we don’t want the audience to see

Inquiry:

When you are interested in something, you should pursue it and share that passion with others as well.

Ingredients:

1. Space

2. Light

3. Darkness

4. Scale

5. Time

– Es thinks about how she can use space to create depth on a stage to interest and make the audience more curious from their perspective.

Communicating: 

To communicate power, she placed them above and higher than everyone else. Vulnerability is shown because Jay-Z and Kanye are all alone and also could possibly fall off the blocks.

1. Basecoat

2. Scumbling

3. Lining

4. Shadows

5. Highlights

6. Texturing

7. Spattering

FINAL PRODUCT

I think my partner and I did very well considering the fact that both of us don’t have much experience in the painting field. I enjoyed the painting process a lot as I learned so many new tips and tricks that I never knew before. One example was that scumbling creates a more realistic look for the bricks because in real life, not all bricks are the same color. Another example was how to paint the shadows and highlights depending on where the light source is shining from. I never knew this until learning about it in Stagecraft. Each step of the way, I learned something new about scenic painting so I hope to learn more in the future.

Picture 1: This is a picture of the fly space in the ES Theater. I like how all the drapes/curtains are numbered so it is easier and more organized for the crew to know which curtain they need to pull up/bring down easier.

Picture 2: This is a picture of the bleachers in the ES Theater. I like how the seating is flexible and how the bleachers are moveable. Flexible seating is better than fixed seating as different directors might have different ideas that might require different seating positions.

Picture 3: This is a picture of the spotlights in the MS/HS Theater. I found this very interesting as I did not expect the spotlights to be so big and far away from the stage. I learned that the spotlights were big because they needed to be powerful enough to reach the stage and they were far away because they produced a lot of noise. This noise would affect the audience, thus they are in an enclosed room far away from the stage/audience.

Picture 4: This is a picture of the fly space in the MS/HS Theater. This was different compared to the fly space in the ES Theater as it was not numbered. I found it very cool because the fly space was almost doubled the actual theater’s space. The fly space has to be bigger than the theater so it can fit all of the curtains/drapes so it can be out of view of the audience.

Picture 5: This is a picture of the dimmer room in the MS/HS Theater. This is where the crew can dim all of the lights in the whole theater. I liked this as it was very interesting how each light had its own dimmer panel.

Picture 6: This is a picture of the dimmer room in the ES Theater. I found the difference between the ES Theater and the MS/HS Theater’s dimmer room to be big. The one in the MS/HS Theateris older and also slightly more difficult to operate whereas the one in the ES Theater is newer and easier to operate.

Costumes are an important part of any theatrical production. From simple all-black clothing in a modern theatre piece to an elaborate Elizabethan costuming in a Shakespeare period piece, costumes communicate a wealth of information to the audience. The COSTUME DESIGNER is responsible for creating the costume “look” of the show. Working closely with the Director, the Costume Designer uses their knowledge, skills, and experience to bring the Director’s vision to life.

Factors of Costume Design:

1. Age
2. Gender
3. Social Status
4. Occupation
5. Geographic Location (culture)
6. Occasion/Activity
7. Time of Day
8. Season – Weather
9. Historical Period
10. Psychological Factors/Personality/Emotions

How would you summarize the responsibilities of a Costume Designer?

• they are in charge of not only the costumes but also the actor’s makeup and hair
• they collaborate with many people like tailors, sowers, artisans, etc.
• they support the Director’s vision of the play
• they research for a lot of information and handle many deadlines