Masters of stage design (2) -- The aesthetics of stage design

Today the topic of the post is "the aesthetics of stage design". How the Mesters think about that. 


Let's start from KAPPA SENO. In last post I talked about his apparatus which he used for "wow" audiences and he really proud of them. I think for Seno, the aesthetic of stage design is how to overcome every problem and try his best to wow audiences. He said that is a "trickery". He's good at using apparatus and different material to trick audiences. For example, when he built stage for "The Snow Country" because first of all they didn't have plenty of budget. Secondly the theatre was not big. Thirdly, Seno had to consider about changing scenes. In the end, he created a train station which looked so real but actually some part of the station was just painting slides.

One of other examples is "stained glass", because of the same reasons, (I think the money is always not enough...) Seno decided to use plastic slides to make them and then the outcome was terrific! Even the expert of stained glass couldn't find out in fact it's not stained glass. Seno said that when the expert saw the "stained glass" he made, the expert was a little bit mad... but which means he was successfully tricked everyone! 

Seno was enjoy tricking audiences, but I think it's not a trickery because drama is not real as well. He just try his best to make a dream for audiences. 

And how about MING CHO LEE? I assume that compared to Seno, he's a thinker.  I mentioned in last post, he said that design should from inside to outside. He always ask himself these four questions. 

1. What have you designed? 

2. Any important thing in the story impacts your design? 

3. Nowadays, anything happened in the society impacts your design? 

4. Why you designed it? Did your mind change to cause your design? 

For Ming, the aesthetics of stage design is "what do you think". Not only building something to audience, you should put the feelings in the design. Once in a interview, Ming said that "I know lots of new designers care about their own style of the design more than the dramas and the scripts. I believe that it's nothing about new and old of the forms, but about the life you depict." 

Ming let me start to think the meaning of the design. It's a hard question. because people is always limited by the objects people can see and then forget the meaning behind it. 

In conclusion, Seno taught me how to use material flexibly and Ming taught me think. 

I have to say read their books is really interesting! I will keep reading to explore every master's secret. What I'm reading now is "The Dramatic Imagination" by Robert Edmond Jones.      

   

Masters of stage design (1)

In this term I read several books about stage design. Some of them are tool books. It's very important to know how to do, but it's also boring... So it's not my topic today. I'm going to talk about two theatre designers. Two of them are already 80-ish. Their stories are attractive! From their stories I learned how they work and the most important of all, their "attitude" about design. Sometimes spirt is more significant then skills.      

The first book is "Peep at Stages". The author KAPPA SENO is a Japanese theatre designer. He is very famous in Japan. Through his experience to introduce the theatre industry in Japan. When I read this book I thought it's a new published book. Those stages look so awesome, especially the apparatus which can change scenes within few minutes. but actually, the book was published 20 years ago!!! (Recently it was translated into Chinese. Which means Taiwan already falled behind so many years.) 

I think he's an inventer. In the book, he mentioned about in1955 he designed the stages for The consul by Gian Carlo Menotti. The director asked his to change the first scene to the second scene in 75 seconds. But the theatre was too small. It's impossible to install the second scene beside the main stage. But he overcame the challenge. 

It's a simple idea! changed the scenes like turned pages of books.

It's impressive for me. I'm not familiar with theatre design. This is the first time I realize that the stage is "alive". It changes with the story! 

The second book is "The Design of MING CHO LEE" . Ming is a Chinese-American. He went to America when he was 18 years old. After he graduated from UCLA, he worked in theatre industry. Seno and he were in the same period of time, but their style was quite different. Seno's works were more close to real life. Compared to Seno, Ming's works were surreal. There are lots of models in his book which are very terrific! You can read the story from the stage. I thinks that's because he claims that "the design comes from the story". He said that design should from inside to outside. (I will talk about this next post.) 

Stage models for Macbeth

I can feel the greed; the ambition from the design.

  

Stage models for Electra

I admire His attitude very much. He and Seno love challenges. Seno loves challenging every problem he met; Ming loves challenging the biggest enemy-- himself. He always critics his previous works strict way. In the book, he siad that his works in 1961-1972 were too symbolic. It was too Brechtian. Lack of emotion inside. It's long time ago, but he still exam those works. He self-criticism all the time. 

Ming and Seno's works were not only design. They gave those stages "soul". I should always remember!  

Site-specific in Taiwan

Previous post is about current situation of Taiwanese theatre industry. This post is narrow down to site-specific which I am going to do.

Except for famous theatre companies, there are numerous small theatre companies. Because of money issue, many of small companies chose to do experimental performances. Site-specific is one of them. Golden Bough Theater is one of successful cases, Golden Bough Theatre started from a truck(1996) and then they had a performance in an abandoned factory(1997). As they became famous, they got a change to perform in historic monuments(2002). At that period, local famous theatre companies also tried to break fresh. For example, Contemporary Legend Theatre cooperated with Richard Schechner. They performed Orestes in Da-An Forest Park. (A big park in Taipei city.) (1995)


However, site-specific is not booming in Taiwan. Above is a few successful cases. Most of them are not accepted by folks. And Big companies don't want to take chance on trying something new. (If they failed they will lose lots of money.)


But it is good to know there are some successful cases in Taiwan, which means it is possible to do site-specific theatre in Taiwan. 

The truck of Golden Bough Theater

The performance in the factory 

The performance in the historic monuments

   

Orestes in Da-An Forest Park

The situation of Taiwanese theatre industry

Today I am going to talk about Taiwanese theatre industry.

Actually, before I came to the UK I didn't really understand the situation of drama in Taiwan. I seldom went to drama, but in fact, I love going to see drama; the problem is even in Taipei it's hard to know that what is on now. (It's not like that you can see lots of drama commercial in London. Maybe you can see some but just a little bit.) Thus, I always thought that the situation of Taiwanese theatre industry is unprosperous.

However, it's not that bad as I thought. after I did some investigate I found out that there is a organization named Taiwan Association of Theatre Technology (TATT). It contributes help to Taiwanese theatre industry a lot. 

For example, 

Four commissions of TATT are currently at work:

  A. Architecture Commission

  B. Scenography and Theatre Technology Commission

  C. Education Commission

  D. Publication and Communication Commission 

(quote from TATT's website http://www.tatt.org.tw/index-e.asp)

On the other hand, according to Li, Chyi-Chang's (who is a theatre professor in Taiwan) easy The Brief Introduction of Drama in Taiwan, It talked about in this 30 years more and more people work in this area. Some of them use their knowledge which learned from abroad and some of them use their enthusiasm to create numerous fascinating drama. Those successful drama made many famous theatre companies and celebrities. For instance, Ping-Fong Acting Troupe, Godot Theatre Company, Greenray Theatre Company, Performance Workshop and lan lin Theater.

But professor Li also mentioned about actually Taiwanese theatre industry is not unprosperous but also not prosperous. "The current situation of Taiwanese theatre industry is it is hard to maintain subsistence without playing new drama but lose money when the company bring out new show. Even those famous theatre companies have to be support by government." One of the main reasons is no many audiences. I have interviewed professor Li and a Taiwanese theatre student Juo, Yu-tung. Professor Li thinks why people don't go to theatre because the drama is not attractive enough. If the story of drama is interesting, people will go defiantly. On the other hand, Juo thinks it's because there are too many drama too abstract for folks, cause people don't want to spent money for going to theatre. For me, i agree what they say. I have been a drama because of the story, I also went to an abstract drama which made me don't want to go again. 

Nevertheless, theatre industry is growing. More and more people work in the area with their passion. Famous theatre companies keep bring new drama; small group try to performance with little money. "It is geting better." professor Li told me.          

  

reference (It's a wrong form, I will change it.) : 

Blog:  TaiwAlan Drama Education Space

Dissertation: A Research of Postmodern Strategies for Modern Theater Management in Taiwan: the Development of “Non-large-scale Theater” as Discourse Framework (盧崇真,2006)


Video: Interview--吳興國
          Interview--李國修
          Interview--金士傑 


Interview: 李其昌  卓予童

My notebook

Actually, I don't get use to record my research process, because in my country, our education style fouce on the final work not the process. So I use to remember everything in my mind. However, after I came here I realized that record research process is important as well. And then I try to do it on my notebook and online blog.

Here is some pages of my notebook:

I went to see BILLY ELLIOT.

I went to V&A and Harrods with my flat mate.

Case study-- Talking birds

the research about the stage design of Chinese opera in the past.

I interviewed my friend who study theater in Taiwan. 

Life-drawing

This term I attended life-drawing class. In the class we had to quick sketch the nude model (about 10~20mins). It was a challenge to me, because I have never ever sketch something so quick. I always draw slowly. However, after few classes I could do it! At least I could sketch about 60% in 15mins.

I think this course helped me to practice sketch something in a short time. Most important of all, I learned about how to measure a figure with a pencil. In next term I need to start to practice location drawing. I believe the skills what I learned in the course can help me when I sketch location.   

Here are some of my work:

Up-Close 2009-06-14 Production Designer Tim Yip-I CCTV-International

Up-Close 2009-06-14 Production Designer Tim Yip-I CCTV-International

Model making

This week superviser recommended me try to do model making. So I found a place, a corner  which is in front of Newton building.

I like the material of the well. Because the building is old, time left "something" on it. 

Actually, I have never done model making before. So I was so nerves when I started.

I bought lots of tools and materials and they were so expensive!!!!!! Anyway I spent one day to make it. I tried to paint on it because I wanted to create the old feeling. But the color was quit different.... I think my first model was not good enough. I have to improve my skills in the future!! I believe I can do it better!!!!

Here is the photos of my model:

And these are my notes:

Whatever, I really enjoy doing model making!!!!!!! It is so interesting!!!!!

Cool technology

I studied muti-media before. If I can I hope I can put some muti-media work in to the work what I am going to do. Few weeks ago I saw a cool clip on the Internat. It was a girl in a picture, and she tried to broke the frame. It was a little bit creepy but really cool.

This series was "Asylum door"

Here is another work. 

I think it is suitable to my work. Because in the story what I choose, Dou E became a ghost in the end. This kind of technology always can surprise audience. But the problem is I don't have much money to build it.....