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Design, Dracula, Exam Help, Y11 course

Trucks, Gauzes and revolves

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Trucks

A rectangular or square base on wheels that can be moved (“trucked”) on and off stage. Depending on the size it can carry a small scene (actors, props, scenery)

Above is an idea of what could go on a truck for a ‘naturalistic’ scene/play.

The idea would be to design and make a small part of a room to suggest the space. YOU DON’T HAVE TO HAVE THE WHOLE ROOM DEPICTED. LET THE AUDIENCE USE THEIR IMAGINATIONS.

This COULD be Renfield’s cell or Dr Seward’s Office. Or a part of Dracula’s castle.

The REALISTIC details are called SET DRESSING. One or two carefully chosen details can make it FEEL like you are seeing a much more elaborate set.

SET DRESSING can be wall coverings (wall paper, paint), wall hangings (pictures, selves books), objects (desks, bed, seats, hat stand)

GAUZES

Gauze is an inexpensive way of achieving ‘special effects’. It does need a basic knowledge of lighting (placement of lights) and other terms like “up stage/ down stage of the gauze, appearance, disappearance, reveal.”

Watch the clip below for an explanation.

Can you think of where it could have application in ‘Dracula’?

REVOLVE (Revolving Stage)

A circular stage (different diameters available) Small could be 4-5 meters across – large might be the whole stage. *Avoid making it too large as these are SUPER EXPENSIVE.

Your solutions should be within the budget of 100s not 1000s of pounds.

“The revolve was created to address one of the fundamental tensions in theatre: the effect on the audience’s patience and suspension of disbelief of long gaps between scenes while stagehands wrestle furniture and props into place in the dark.” [The Guardian newspaper]

The revolve can be centre stage or off centre.

It can have 2 different sides to it of 1 that is turned away when that scene is not the focus.

WHERE IN DRACULA could a revolve help with the scene changes? 

Design, Dracula, Exam Help, Y11 course

writing about set design

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  • Establish the scene, establish the idea and devices quickly.
  • Explain How it works.
  • Justify your ideas.
  • Use quotes to justify your ideas.

Below is a still from a Vamos Mask play set in a hospital.

Beneath it is a paragraph that follows a WHAT -HOW – WHY structure to answer a set design question.

EXAMPLE

For Bedlam (Scene 2) I will design a set that has 3 zones. (Seward’s Office, the Corridors and Renfield’s Cell). These will be created with medical screens on castors (wheels)

[Quick sketch]

When Scene 2 starts, I want to create the atmosphere of a busy hospital. The ‘grim Nurses’ will enter from all directions pulling and pushing these screens. They will move them around to create corridors and a sense of business. Sometimes they will part the screens to reveal Dr Goldman “in and out of sight” “writing in her notebook”. At other times they will come together to make the 3 walls of Renfield’s cell where is ‘gabbling maniacally.’

The screens will be white but stained, showing that this is a neglected hospital. These screens will be easy to bring on and take off, and have a whole range of different configurations in the Bedlam scenes to come.  Because they are white they can be projected against (e.g: the bars of a window from a Gobo) or become shadow screens for images (eg: the silhouette of Dracula when Renfield is saying,“My Master is coming…”)

[5 Marks]

WHAT WOULD YOU GIVE THIS?

Dracula, Exam Help, Y11 course

writing as a director

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Question

Read the passage from line 445, (‘Goodbye, goodbye, my dear friend.’) to line 507 (‘…as in a pieta’). As a director, how would you direct the scene to bring out the changing dynamics of this passage? [10]

{It’s important to realise that you are not going to be able to write about EVERYTHING in this part. Selecting the RIGHT passage to ANSWER the QUESTION (“direct…changing dynamics …”) is CRITICAL.

Sample of writing for Dynamics Question

I would direct the first section (Dracula’s Goodbye speech) to be dangerously quiet and falsely ‘sweet’ in a most unnerving way with him exiting as he makes the final comment about ‘bad dreams for those who sleep unwisely’. I would add a sound effect to make these words echo after his exit to make them seem more ominous and bring the sound effect of “wolves howling” up in volume. 

The slamming and bolting of the door would mark a sudden change in energy, enhanced by an echo to make the place feel cold and empty. I’d then have absolute silence to create an intense contrast and then Jonathan’s repetition of ‘Mina’ while ‘on his knees’ would be the emotional low point for this character. He would be centre stage, head bowed so that he’s vulnerable for when the Vampire Brides enter upstage. ​


I would use a ‘vampire-brides theme’ almost unheard at first: a track that is eerie and ominous, perhaps with an underscore of hollow laughter. This would be heard before we see the Brides to create intrigue and unease for the audience. I would have them appear out of some swirling fog with extremely low light so that we can  barely make them out. I would  have them enter from different directions and have them crouched and even crawling to emphasise their ‘animalistic’ and predator-like behaviour. I would direct them to sniff the air and lick their lips trying to detect what is in the castle with them (Jonathan). By the time they all meet up they would have seen Jonathan and now be on their feet. I’d direct the 3 Brides to have different statuses. Bride 3 seems to be the youngest/newest as she asks more questions “Shall I leave you some”. I’d direct this like an initiation ceremony with the other 2 Brides gently pushing Bride 3 forward, whispering in her ear (instructions) and giving her nods of reassurance. The energy of the scene will build as they get closer and closer to Harker. There movements should be slow, deliberate and seductive. They should appear very feminine so that Harker is in a “langurous ecstacy” and almost a willing victim. Then the dynamics will suddenly change with the arrival of Dracula.

I want the audience to feel shocked with the violence from Lines 488 to 492. I would have Dracula almost strangle Bride 3 “grasps the neck”. When the others try to rescue Bride 3 I have Dracula give both a back handed ‘cuff’ that sends them sprawling on the floor.

This would return them to their animal rhythms and behaviours. They are now crouched ready to flee or fight “breathing and snarling”. Their voices will be harsh and full of anger and spite. They will be grouped in a tighter group for protection and this will given them the confidence to taunt Dracula with “You have never loved” and with “ribald laughs”. This is a significant dynamic change from the feminine tones of earlier.

526 words

Mr Jones

WHAT WOULD THIS GET? – MARK SCHEME

Design, Dracula, Y11 course

SET design – dracula

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IDENTIFY the pros and cons * advantages and disadvantages* of these sets for ‘DRACULA‘

For EACH you MUST:

  • Describe in 2-3 lines what you see (use correct terminology)
  • What spaces are being created (a single location or multiple locations?)
  • Consider how the MOOD is being created (you can reference LIGHTS as well)
  • Consider how easy/difficult it would be to move from one scene to the next.
  • YOU WILL HAVE ABOUT 7 mins per picture

2

Interior

3

4

Design, Dracula, Y11 course

costuming ‘dracula’

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How would you costume:

  1. Mina
  2. Lucy
  3. Dr Seward
  4. Jonathan Harker
  5. Nurse Grice
  6. Count Dracula
  7. Renfield
  8. Orderly Drinkwater
  9. Dr Goldman
  10. Vampire Brides

Create a Mood board like the one below for your ‘given’ character.

You need 1 A4 sheet of images and 1 A4 sheet of notes.

Notes can include:

  1. Any quote about costume from the play.
  2. Any use of a costume item or reference to it in the text
  3. COLOUR SCHEME – perhaps symbolic.
  4. Justification: Reference the social STATUS of the character, their WEALTH, their JOB,
  5. What the AFFECT you want to have on the audience is.

DUE IN 1ST LESSON AFTER HALF TERM HOLIDAYS

Dracula, Exam Help, Y11 course

LIGHTING

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Link to hi Tech production

The aim of this lesson is to:

  • Understand the principles of lighting design
  • Know what lights create what effects
  • Build subject specific vocabulary
  • Give opportunities to be creative using a light simulator

Task 1: In Pairs, discuss for 1-2 mins ‘why lights are needed in theatre?‘ (Shakespeare didn’t use them!)

(10 mins) Create a Venn diagram. Label one side Functional lighting and the other Emotive lighting (effects designed to cause/reflect an emotion)

Some of your ideas might exist in the middle – the cross-over.

E.g: A sunset scene is functional in that it tells us the time of day, but it may also convey an emotional response to the audience or reflect an emotion present in the text.

Task 2: (20 minutes) Finding out what lights do (basic)

Click on this LINK for the lighting simulator

http://scenicandlighting.com/lightlab/

Set every light to zero (slide to the left).

Using 1 slider (light) at a time, see what effects are created by using:

  • A cyclorama light
  • Side lights
  • Top lighting
  • Foot lights
  • Specials
  • High Side Gobos

*Take photos or screen shots of each to help memorise and put into a word document.

Task 3: (20 minutes) Create a ‘lighting state’ for

  • a woodland scene at night (Midsummer Night’s Dream – by Shakespeare.
  • a romantic sunset scene outdoors
  • a spooky castle

*Take photos of each to help memorise or screen shot it .

In your Journal, you need to be able to:

  1. State the scene – location – time of day.
  2. Explain where lights are positioned, angled, focused and any colour choices, special effects (gobos?)
  3. Justify why you used these (in terms of the effects you wish to create eg: time / place / mood.)
Monologues, Y11 course

LEARNING LINES

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Learning lines is a challenge however old you are.

Actors need to try a variety of methods and then find the one that works best for them.

Learning lines really needs to happen AFTER you have fully explored the FUNDAMENTAL QUESTIONS [who/what/where/when/why] of each scene/speech – otherwise you won’t be connecting the words to a feeling or motivation (and that doesn’t lead to an engaging performance.)

My personal feeling is that having the script in your hand as you try to learn your lines is NOT effective. There’s too much of a temptation to look at the lines and before you know it, you are just reading. Also, you forget that your hands will be empty for the performance and then you will wonder what to do with them.

Some tried and tested methods are:

  1. Working with a partner who has the script – can check you are accurate and can feed you a line at a time if you get stuck.
  2. Record your lines (and that of others) into your phone and play them back. (Last thing before you sleep is a proven good time as your brain/memory is more receptive.)
  3. Know your BLOCKING / MOVES and run the lines as you do the moves. (There’s good evidence that CONNECTING the lines to set moves embeds them quicker into your memory.)
  4. (For a dialogue scene – more than 1 person speaking) Record everyone else’s lines (cues) and leave gaps for your lines. *Requires a bit of practice to get the ‘gaps’ the correct length.

Watch this:

4. Write your lines out (including punctuation) This is good for large speeches or monologues. Punctuation will allow you to see the structure of the speech, pauses, changes in ideas, emotional journey. Do it with extra wide margins and double line spaced so you can annotate the text as you work on it.

Watch this for a variation on Number 4: