Research task: Due in 1st lesson after Half Term Break
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)
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’?
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?
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?
Question
{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
IDENTIFY the pros and cons * advantages and disadvantages* of these sets for ‘DRACULA‘
For EACH you MUST:
2
3
4
How would you costume:
Create a Mood board like the one below for your ‘given’ character.
Notes can include:
DUE IN 1ST LESSON AFTER HALF TERM HOLIDAYS
The aim of this lesson is to:
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:
*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
*Take photos of each to help memorise or screen shot it .
In your Journal, you need to be able to:
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:
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: