Thea project group 76
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Transcript of Thea project group 76
![Page 1: Thea project group 76](https://reader034.fdocuments.net/reader034/viewer/2022042816/559508a71a28ab52068b45d9/html5/thumbnails/1.jpg)
Collaboration project
THEA Group 76: Andrew Cobarruvias, John Duong,
Leon Nguyen, Anh Phan
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Chapterone
Set Design
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Environment for the play
• Performance
• Thrust Stage
• Creates a more intimate connection with the audience
• The stage acts as a focal point so that the performance is the center of attention
• An open space for performers to act the various love-conflict scenes.
• Many of Shakespeare's work were performed on thrust theatres
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Actors
• Performers
• Need to have an
adequate and
comfortable performing
atmosphere
• Skene, the backstage,
would help the
performers change
costumes while the
performance in going on
and re-gather
themselves throughout
the play
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Mood and style of the
production
• Episodic Play
• Drama begins early in the play
• The action takes place in many years
• The scenes are short
• Since the scenes are short the actors will have to frequently
change clothing to adjust to the new change of the setting of
the play
• With carefully selected props, the different settings for the
scenes can be can be relevant to the play itself
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Realistic or Non-realistic
theatre
• Non-Realistic Theatre
• Since the scenery changes a lot, a non realistic theatre
would be more ideal than a realistic theatre space
because it’s impractical to keep changing the physical
scene to match the setting of the play.
• A non-realistic scene can be simple including a few chairs
and table to be adequate for all the different types of
scene changes such as:
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Locale and Period of the
play
• Time period: the sixteenth century
• Setting: Messina, Sicily, and Gov. Leonato’s place,
church wedding altar
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Props to the play
• Since the play’s climax
revolves around the
wedding altar, wedding
rings would be appropriate
for play props
• A bed can be present to
represent the love conflict
that continues throughout
the play. Ex: The
relationship between
Claudio and Hero from
beginning to the end of the
play
• Chairs can also help
illustrate the stability
throughout the play
amongst certain characters
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Chapter Two
Lights
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Visibility
• Light must be used to see the
characters faces, the props,
and the set on stage
• At night time, when Don Jon
comes home to the Messina,
candles will be used to
indicate that
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Shapes and Forms
• Lighting has to be seen from all sides of the object
so make them more interesting
• In this play, the lighting has to be much more
accurate from different angles during the wedding to
see the reactions of the characters when they find
out the overall joke
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Focus and
Composition • This allows the audience
to focus on the main thing
that is going on in the
play
• Even though the light is lit
throughout the whole
stage, there is a brighter
light on the main scene
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Mood and Style
• The mood is set by the characters and then help along by
the lighting, for example, blue is to represent sadness,
and yellow is to happiness
• In the particular picture, the scattered lights represent the
moonlight on the lake, but all the colors are shown but
red to emphasize the balloon
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Time and Place
• Lighting can tell the
audience by the time of
day it is, or the time of
year it is
• This play is set in the late
1500s and during the
Autumn season, so the
colors are more warm on
stage
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Rhythm of Visual
Movement
• This provides a constant change in lights for the
audience to stay interested in the play
• In this play, the scene changes from the celebration
of Don Jon coming back from war to Claudio falling
in love with Hero
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Central Visual Image
• The lighting is very essential to the play, the wrong
lighting can get the audience distracted from the
main idea of the play.
• Lighting for a play, turns makes it more complex
than it should be. More is shown on the simple
stage, the props, and the other characters
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Chapter Three
Costumes
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Purpose of Costumes
• Costumes in theatre is used to create clothes for
characters to reflect the ideas and main goal of the
play. In other words, the costume should fit and be
as if that character would have chose that clothing
them self.
• Because audiences will make strong associations
with that characters are wearing on stage, costumes
are very important and should be carefully chosen.
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Tone and Style Costumes are the most personal
aspect of the visual elements in
theatre and are a representation of
an idea of a play whether it be
theatrical or modernistic
The tone and style of this play is
comicalyet towards the climax and
end of the play, it becomes very
dark and evil.
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Historical period
• Just like lighting in the play,
costumes has many ways
of conveying what time and
place the play takes place
in.
• The time period of the play
is set in the late 1500s in
England, in a little town
called Messina, Sicily.
• The characters will be
dressed in very
Shakespearean style
clothes with an influence
from the medieval times.
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Nature of individual
characters
• Costumes usually give us
information on individual
characters depending on what
they could be wearing.
• What you wear says a great deal
about the type of person you are
and what your motives are in a
particular moment.
• For the female roles, costume
include shades of bright yellows
and pale oranges to resemble the
innocence of the women and the
men such as Benedick, Don
Pedro, Borachio, Leonato, and
Claudio would be clothes in
shades of grays and cream to
show the status and them coming
back from war.
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Relationships of key characters
• In order to show the
relationship and association of
different characters and group
them together, characters will
be dressed similar.
• The men coming from war
would be dressed the same with
dirty yet heroic type of clothing.
• Leonato and Hero would be
dressed similar in very lavish
clothing because the story
mainly takes place in his home.
• Benedick and Beatrice would be
dressed similar to correlate with
their relationship being at odds
but in the end, fall in love.
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Chapter four
Director
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Chapter 4
Director
• Looks to put together a mixture of the tangible and
intangible.
• (Script, performance, costumes, scenery lighting
and POV.)
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Script
• Director chooses the script to be
produced.
• Has to be attracted or feel a special
affinity.
• We as a group were attracted to this
play because we were familiar with
Shakespeare and love comical
plays.
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Spine of the Play• First step a director must
do is find what “Motivates
the play”
• Usually the fundamental
action or conflict of the
play
• For “Much Ado About
Nothing” the major conflict
of the play was at the
wedding when Claudio
publically embarrasses
Hero right before they got
married.
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Style
• Way a play is presented
• “Much Ado About Nothing”
has a witty and deceptive
style.
• For example Claudio and
Don Pedro talk in a very
clever language knowingly
being overheard by Benedick
to trick him into loving
Beatrice.
• These examples happen
throughout the play.
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Directorial Concept
• Point of View that the director think seems fit for the
play.
• The play was told in a 3rd person Point of View
which let the audience see the characters deceiving
each other.
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Cast
• Need to put people in roles
where their physical appearance
and personalities are best suited.
• For example Don John would be
a deceptive fellow who wants no
one to be happy. I would choose
a dark actor like Tom Hiddleston.
• Another Example, Leonato
would be a elderly noble guy
who is bit emotional like
Tom Hiddleston
Ian Mckellen