Group 35 collab project
- 1. THEATRICAL COMPONENTS FOR A MIDSUMMER NIGHT’S DREAM BY SHAKESPEARE Dharwin Jomuad Director Dung Nguyen Lights Meehui Paik Sets Nam Phan Costumes
- 2. DIRECTOR
- 3. ENTRANCE OF THE KING • Hippolyta sits alone in Center of the palace on a throne • Theseus approaches her from Stage Left. He comes close to Hippolyta and speaks to her in a low voice • Philostrate leaves palace Stage Right upon Theseus’ command. DIRECTOR
- 4. ENTRANCE OF THE LOVERS • Egeus, Hermia, Lysander, and Demetrius enter from Stage Right after Philostrate leaves • When Egeus begins talking to Theseus Hermia, Lysander, and Demetrius stand Upstage Right and wait • As the three lovers begin their lines, they walk towards Center DIRECTOR
- 5. QUINCE’S HOUSE • Scene starts with lights off and actors (Snug, Bottom, Flute, Snout, and Starveling) in a circle in the Center of the stage. Lights turn on to reveal the actors. • Quince stands on a podium at the center of the circle with a scroll of the actors’ names. • Actors rise up energetically upon being called • Actors exit one by one Stage Right upon Quince’s dismissal DIRECTOR
- 6. THE WOODS • Fairy enters from Stage Left • Puck enters from Stage Right • The two meet at Center Stage and begin saying their lines • Puck and Fairy step aside and give room in for Titania and Oberon • Titania enters from Stage Right and Oberon enters from Stage Left DIRECTOR
- 7. THE SINGING FAIRIES • Fairies begin singing and dancing in a circle around Titania • Lights slowly fade, fairies sing more softly and dance more slowly • Oberon walks in sneakily from Upstage and approaches Titania with the flower. • Lysander and Hermia enter the scene from Stage Right. Oberon quietly retreats to Upstage DIRECTOR
- 8. THE LOVERS IN THE WOODS • Hermia and Demetrius enter the woods, arguing loudly. • EXIT Hermia. Demetrius lays down center stage and sleeps • ENTER Oberon and Puck arguing. EXIT Upstage • ENTER Helena and Lysander, arguing. • Helena and Lysander find Demetrius waking and Helena becomes woeful over her situation. DIRECTOR
- 9. THE CONFUSED LOVERS • Chaos ensues and the lovers attempt to chase their respective interest. • During the chase, there will be random entrances and exits. • As the lovers tire out, they rest in Center stage. Oberon finds them and sprinkles the potion on them. DIRECTOR
- 10. RETURN TO QUINCE’S HOUSE • Quince starts setting up and rehearsing for the play within the play. • Quince goes over lines and blocking • The actors begin panicking because they cannot find Bottom. They are yelling and running around in stress. DIRECTOR
- 11. CLOSING SCENE • The lovers wake up in the forest, stripped of clothing • They part to different corners of the stage and search for their clothes • Upon entering the palace, the lovers come in with their rightful partners. • Oberon and Puck speak to each other on the side, praising their good work. DIRECTOR
- 12. LIGHTS
- 13. SETTING THE SCENE • Athens, (ancient) Greece • Begins at Theseus’s palace • Only light at night comes from “stars” and “fire” LIGHTS
- 14. THE PALACE • Scene opens at night • Spotlight in one corner to simulate moonlight through a window • Fake fires and soft white lighting across stage to resemble fires lighting up palace LIGHTS
- 15. QUINCE’S HOUSE • Well-lit • Soft white for more natural, homey feeling LIGHTS
- 16. THE WOODS • Trees backlit, dark shadows, simulates the woods at night • Spotlight on Titania, Oberon, other characters LIGHTS
- 17. TITANIA’S LAIR • Brightly lit and colorful • Use of different-colored gels for stage lights LIGHTS
- 18. THE FOG • The fog that puts the lovers to sleep • Highlighted with blue light, the color of sleep • Stage lights use blue gel to paint the stage blue LIGHTS
- 19. THE WEDDING/PLAY • Lights focused on the actors • Illuminates the “stage” of the play within the play LIGHTS
- 20. PUCK’S SOLILOQUY • Spotlight focused on Puck • Stage dark as he is delivering the soliloquy at night LIGHTS
- 21. SETS
- 22. STAGE OF CHOICE – PROSCENIUM STAGE Why? • Ample Room • Create layers to enhance scenery– density, complexity, depth of field, silhouettes SETS
- 23. DEFAULT BACKDROP OUTDOOR SETTING • Default backdrop will be placed in the farthest back of the stage (example shown above) • Indicates an outdoor setting • The actual default backdrop can be a vague, forest-green gradient such as shown above. • Other, more detailed stage scenery equipment goes in front These will be in front of the backdrop as the silhouette of the trees. SETS
- 24. SECONDARY BACKDROP INDOOR SETTING • Large backdrop printed on a canvas • Drops over the forest backdrop when needed • Drawn back up when not needed • Suggests indoor setting – more specifically, Theseus’ palace where the Act I Scene I & Theseus’ wedding take place • The design and walls made of white rubble suggest the era that A Midsummer Night’s Dream took place– Ancient Athens. • The quality of the palace lets the audience know that Theseus was of wealth SETS
- 25. BI-LEVEL SET The second level will be on wheels for convenient mobility, and smooth transitions between scenes. The rest will be the default backdrop and burlap foliage. • First Level Contains the characters in focus (sleeping characters, humans aloof of fairies) • Second Level Contains characters in the background who are also important to the scene (fairies who are unseen by humans, like Puck’s anonymous encounter with Bottom). Offers more complexity to the play. Second Level First Level SETS
- 26. LARGE SYMBOLS TO SUGGEST OUTDOOR SETTING The play will contain realistic and abstract elements, so there will be silhouettes and shapes to suggest the settings as well as some detailed backgrounds to suggest location. • Furthest away on stage for depth • When present with a bit of dark lighting: suggests night time • When absent in combination of good lighting: suggests day time • Abstract - Simple shape (circle) creates silhouette/line • Center stage • Focus in between 2 trees • Suggests outdoor setting for the scenes that take place in the woods • Will be on WHEELS to roll in and out for easy transitional movement • Creates texture & color Green Burlap will be spread on the floor to signify grass/ground-foliage Trees to further indicate an outdoorsy setting SETS
- 27. LARGE SYMBOLS TO SUGGEST INDOOR SETTING Floor will be white to signify Theseus’ Palace– white symbolizes cleanliness and royal upkeep Basic columns and prop urns will be placed on either side of the stage to signify the time and place (Ancient Athenian Palace) SETS
- 28. SAMPLE OUTDOORS SET Center Stage SETS
- 29. SAMPLE QUINCE’S HOUSE • Natural wooden floor is okay • Turn all lights off of backdrop so the audience focuses solely on Quince, Flute, Snout, Starveling, and Bottom SETS
- 30. DISTINGUISHING DIFFERENT PARTS OF THE WOODS • Much of the play takes place in the woods. However, they do not occur in the exact same part of it. • To help the audience distinguish that the scene is occurring in a different part of the woods, there will be sound effects and subtle stage details (for example, a stream of water to signify that they are closer to the bank, or more colorful flowers and leaves on the ground). • There will be more colorful plants and beds of leaves for Titania’s sleeping scene. SETS
- 31. COSTUMES
- 32. STYLE • Simplistic Style as per Ancient Athens’ era (16th century) • Very functional mobility • Leverage simplistic design of era’s clothing to emphasis character’s state through colors • Clothed Vs. Non Clothed • Clothed for the civilian cast • Sparsely clothed for the ‘enchanted’ cast COSTUMES
- 33. THE COLORS • Use colors to show character’s state • The costumes color will change • To change colors either will put on before next scene, or tear off • Since the Athens style is simple layered Tearing off is easy Affected by the Love Juice • Lysander • Titania Enraged • Hermia • Helena Neutral COSTUMES
- 34. MALE AND FEMALE ATHENIANS • Males wear Chitons • Females wear Stola • Although historically females also wore Chiton we’ll have the actors wear stolas for clarity • The difference is in the pleats COSTUMES
- 35. THE MALE VARIATION • All the Athenian males will wear Chitons save for Theseus • He will wear a himation, a much more easier and leisurely garment to wear • This is to distinguish Theseus to a different class COSTUMES
- 36. HIPPOLATYA • Hippolatya dress will be much fancier than the other female Athenians • She will also carry a parasol because she is wealthy COSTUMES
- 37. SWORDS • Only Lysander, Demetrius, and Theseus will wear swords tucked into their the belt of their Chitons or in the folds of the Himation • These will be drawn when Lysander and Demetrius chase each other • Theseseus will never be drawn as he has laid his down for Hippolyta COSTUMES
- 38. NATURE’S ACCOMMODATIONS • Some of the enchanted beings’ costume are a tad risqué. Actors should have the option of wearing a skin colored leotard to accommodate. COSTUMES
- 39. OBERON • Oberon’s Costume should be fairly sparce yet regal • He will wear a leafy loin cloth and a cape of silk COSTUMES
- 40. PUCK • Puck’s costume should be similarly sparce but in addition he ought to wear a clumsily worn wreathe to represent his status as a joker • He should also wear a flowered fool’s crown COSTUMES
- 41. TITANIA • Titania’s costume will be simply be only a leotard with a stola made of viel-silk, the same kind for weddings. • The color of the silk will be green when she is netural, and purple when she is under the influence of love juice COSTUMES
- 42. THE FAIRIES • The Fairies will wear long ribbons similar to this child’s dress, but sliced up and flowing. • LED lights will be embed so that the ribbons glow representing the faeries ephemeral nature • LED lights are not hot COSTUMES