Dissertation -- "From Variation to Evolution” ─ Changing of Stage Design Concept in the Production by Chen, Wei-Kuang

When I went back to Taiwan, I went to National library almost everyday. The dissertation I'm going to talk about impressed me most. The author Chen, Wei-Kuang was a MFA student who studied theatrical design and technology in Taiwan. Below is the abstract of his dissertation.

ABSTRACT

“From variation to evolution” is talking about changing of stage design concept in the production. It is the problem that the plan always change in the process of theater design, so designer have to make his way of design evolution to deal with all variation possibly.

What visual effect designed on stage is according to the context of script, the style of play and director's concept. By contrast, director may think like a designer to imagine the whole stage, to familiar with designer's language. Some directors are easy to show their thought, but couldn't imagine the paper of design (Ground-plan, section, render) or model, they only realized when they are on real stage. Therefore, stage design should have good ability to adjust their presentation for your director. Director may change your design until the last second. Of course, it would affect the original design concept, designer may have flexible attitude to solve the problem, sometimes would have excellent effect because of somebody's new idea.   

In his dissertation, he mentioned about 6 cases he did in the period. Each case gaves him different lesson. His second case "A murder case in a snowing night" reminded me an important principle that I forgot from beginning. 

"A murder case in a snowing night"  is a Taiwanese opera. (Which is similar to Chinese opera. Kind of traditional performance in Taiwan.) When Chen Wei-Kuang got these case he was excited about using new ideas on this case. He wanted to do some revolution. (Like me!) In his frist concept drawing of the case. He designed a two floors ancient Chinese hotel full of detailed furnitures which was very different from traditional Taiwanese opera stage. (Traditional Taiwanese opera is also similar to Chinese opera, quite empty on the stage.) When he gave the concept drawing to the director, the director said that his idea was a good try, but he couldn't image how to perform the opera on this stage. He explained to Chen that they needed space to perform. (Taiwanese opera is a performance which combines dancing, singing and acting.)
And he also pointed out that it was not necessary to make the stage too real, otherwise, it was too real to image for audiences. (Imagination is important in Taiwanese opera as well.) After the meeting with the director, Chen realized that he only focus on designing but totally forgot the spirit of Taiwanese opera.

I thought I did the same mistake! in few weeks ago, I always thought about how to let the audiences feel they are part of the performance, but I forgot to consider the spirit of the performance. I was glad that I read his dissertation before I started my design. I could fix this problem from now.

In the end, Chen changed his design into simple form complicated. He found the balance between innovation and maintenance.

In a nutshell, I should put the performance in front of the stage design. Just like Ming-cho, Lee said that theatre design should from the story.