Lights
For the most part, lighting would be fairly dim. Bright enough so that you can see things clearly, but not as bright as it would be if you were outside during the afternoon. The scenes inside the bar would be fairly dark, also reflecting the sad mood of the play and the nighttime scenes would be the darkest. Scenes inside the bedroom would be brighter, because I always imagined the bedroom having an open window to allow for air circulation. Scenes that take place outside during the day or inside the bar once it has been attacked would be the brightest because of the "natural light". Most of the light would come from the stage left since that is where the entrance/exit to the "outside" is for the bar scenes. My reasoning for all this is because I want to portray everything onstage realistically to a point. There would also be specific lights- for instance, if a scene starts or ends with Sophie or someone else singing, there will be a spotlight on the platform. If its at the beginning of a scene, the rest of the stage will light up as the action begins; if at the end, everything will fade to that spotlight until it too fades out. Different colored lights will also be used to reflect various moods during certain events. For example, as Salima is telling her backstory, the spotlight on her will become red with anger and fear as her story intensifies, then suddenly goes to blue as she breaks down. The scene where the bar is attacked will also be cast in a red light to symbolize the danger and fear that the women are feeling and the anger that the soldiers are feeling. Night scenes and rainy scenes will have a blue light and outdoor scenes that are not rainy will have a slightly green cast to them, seeing as they are in a rainforest area.
Sounds
Any music that is in the play would be pulled from either the script or Congolese music. The music would be generated from the band that is sitting to one side of the stage and would play when mentioned in the script and between scenes to keep the audience entertained as set pieces are moved on and offstage. Music between the scenes would correlate to what is going on in the scene before it, whether it be a regular day(happy music) or a bad day(sad music).
Sound effects would be precorded sounds. When house opens and audience is coming in to take their seats, they would hear the sounds of the rainforest that are mentioned at some parts in the script along with a gentle mix of traditional Congolese music with perhaps a slight mournful tone to it to help set the mood. From time to time, the audience would hear gunshots mixed with men shouting angrily in Swahili and women screaming. I feel as if many of the sound effects are pretty self-explanatory; right before soldiers come in, there's going to be the sound of a truck pulling up, parking, and unloading people and after they exit, hear them get in the truck, pull out, and drive away. For scenes where the fighting is getting closer to the building, gunshots are heard from around the theatre. For scenes that take place in the rain, sounds of heavy rain and thunder would be heard.
And I'm still trying to figure out the deal with the parrot.......
For the rest of the staging, just keep scrolling down. It's all there~
Monday, May 10, 2010
"Ruined" Costume Design
With the exception of Mr. Harari and the government officers, all the clothing will be dirty and worn to one degree or another. With that, here is the breakdown of what each character would wear:
Osembenga, Kisembe, and their Soldiers
Each military character would wear what their side dictates they would wear. Their uniforms would also vary with rank. Soldiers' uniforms will be dirty and worn, and in the case of some characters such as Fortune, ill-fitting, being either too big or too small.
Government soldiers:
Christian
He wears an old-fahsioned gray suit, maybe from the 1960s. It would be worn and faded, but not very dirty and in relatively good condition. For the last scene in the play, he is seen wearing a new one, maybe a darker gray and more modern. He might also have a matching fedora to go with his usual gray suit. It would probably look something like this, but in gray:
Mr. Harari
Mr. Harari on the other hand, would wear a very new and modern white suit that shows his wealth and status as the owner of a diamond mine. Like Christian, he may also have a matching fedora. His hair would be neatly combed and as for shoes, they would be white like his suit when he is wearing them.
Mama Nadi
Since Mama is a little bit older, I pictured her as being a little bit heavier, also because she eats a bit better than the rest of the girls. She would wear low-cut V-neck shirts and tank tops that allow her to show off her cleavage. She would also wear traditional wrap skirts, tied so that she can show some leg and traditional Congolese head wraps. Shoes would most likely be sandals. Her main colors in her clothing would be yellow, green, and red which are also the colors of the Congo's flag because in a way, Mama and her bar represent the Congo itself. She and her place want to remain neutral and peaceful, yet it houses people from both sides who wish to fight over it.
Type of head wrap she would have:
Type of skirt she would have:
Sophie
Sophie seems to come from a slightly better background than some of the other characters, so I pictured her clothing to be a little newer, in slightly better condition than everyone else's. She would wear simple and modest, yet attractive dresses that probably go down to a little bit above the knees. Hair would be pulled back into a small, tight ponytail or bun, maybe pigtails and shoes would be either flip-flops or flats. Main colors would be pastel tones of pink and blue to reflect her peaceful, quiet, and soft personality.
Salima
Coming from a farming, and most likely more traditional background, Salima's clothing would have a more traditional feel to it. She would wear the traditional wrap skirts and head wraps, although probably a bit simpler than those of Mama's and would be barefoot(probably couldn't afford good shoes in her past). As for her tops, she would wear halter tops and loose scoop-necked shirts. Her main colors would be gray, which is associated with spiritual and physical blemish, purple because it is feminine, yet is strong, maroon, and green, both of which are associated with the earth(farming).
Her type of head wrap:
Josephine
For me, Josephine came across a little bit more egotistical than the other girls. She has probably been a prostitute for quite a few years and has gotten used to the attention from the guys, and in turn, probably liks to be noticed. Josephine would wear short, flirty skirts that show off lots of leg, halter and tube tops that also show quite a bit of skin. Because Josephine likes to be noticed, her main colors would be a bit louder than the other girls' and they would be red, bright pink, purple, and gold/yellow.
Other characters
The Aid Worker would wear his Aid Worker uniform and miners would wear pants and boots, with shirts(usually wifebeaters) and would be especially dirty from working in the mines.
Osembenga, Kisembe, and their Soldiers
Each military character would wear what their side dictates they would wear. Their uniforms would also vary with rank. Soldiers' uniforms will be dirty and worn, and in the case of some characters such as Fortune, ill-fitting, being either too big or too small.
Government soldiers:
Christian
He wears an old-fahsioned gray suit, maybe from the 1960s. It would be worn and faded, but not very dirty and in relatively good condition. For the last scene in the play, he is seen wearing a new one, maybe a darker gray and more modern. He might also have a matching fedora to go with his usual gray suit. It would probably look something like this, but in gray:
Mr. Harari
Mr. Harari on the other hand, would wear a very new and modern white suit that shows his wealth and status as the owner of a diamond mine. Like Christian, he may also have a matching fedora. His hair would be neatly combed and as for shoes, they would be white like his suit when he is wearing them.
Mama Nadi
Since Mama is a little bit older, I pictured her as being a little bit heavier, also because she eats a bit better than the rest of the girls. She would wear low-cut V-neck shirts and tank tops that allow her to show off her cleavage. She would also wear traditional wrap skirts, tied so that she can show some leg and traditional Congolese head wraps. Shoes would most likely be sandals. Her main colors in her clothing would be yellow, green, and red which are also the colors of the Congo's flag because in a way, Mama and her bar represent the Congo itself. She and her place want to remain neutral and peaceful, yet it houses people from both sides who wish to fight over it.
Type of head wrap she would have:
Type of skirt she would have:
Sophie
Sophie seems to come from a slightly better background than some of the other characters, so I pictured her clothing to be a little newer, in slightly better condition than everyone else's. She would wear simple and modest, yet attractive dresses that probably go down to a little bit above the knees. Hair would be pulled back into a small, tight ponytail or bun, maybe pigtails and shoes would be either flip-flops or flats. Main colors would be pastel tones of pink and blue to reflect her peaceful, quiet, and soft personality.
Salima
Coming from a farming, and most likely more traditional background, Salima's clothing would have a more traditional feel to it. She would wear the traditional wrap skirts and head wraps, although probably a bit simpler than those of Mama's and would be barefoot(probably couldn't afford good shoes in her past). As for her tops, she would wear halter tops and loose scoop-necked shirts. Her main colors would be gray, which is associated with spiritual and physical blemish, purple because it is feminine, yet is strong, maroon, and green, both of which are associated with the earth(farming).
Her type of head wrap:
Josephine
For me, Josephine came across a little bit more egotistical than the other girls. She has probably been a prostitute for quite a few years and has gotten used to the attention from the guys, and in turn, probably liks to be noticed. Josephine would wear short, flirty skirts that show off lots of leg, halter and tube tops that also show quite a bit of skin. Because Josephine likes to be noticed, her main colors would be a bit louder than the other girls' and they would be red, bright pink, purple, and gold/yellow.
Other characters
The Aid Worker would wear his Aid Worker uniform and miners would wear pants and boots, with shirts(usually wifebeaters) and would be especially dirty from working in the mines.
Staging Ruined- Location and Scene Design
Location
If I were to stage ruined, I would like to stage it in the Jaeb Theatre at the Tampa Bay Performing Arts Center(TBPAC). I would stage it there because Tampa is a larger city with a fairly diverse population. There is also a lot of theatre already there. The Jaeb theatre itself is rather small, so it should allow everyone in the audience to see what's going on onstage, from large actions to the small minute details. There are also tables and chairs in the theatre so that the audiece can sit at them and even eat and/or drink as if they really were at Mama's place.
A floor plan of the Jaeb Theatre:
The Scene and Set Design
The play mostly takes place indoors with a few scenes taking place right outside the building, so the set should be made to look like both. The backdrop would be painted to look like it is made of wood and/or bamboo, which is probably what the building was made of. To the stage right part of the stage would be a doorway with either a door or a beaded curtain in it. For the bedroom scenes, this would be the doorway to the hall or stairs, bar scenes- the door to the back, and for outdoor scenes, the door to inside the building. To the far stage right, there would be a raised platform, which is where the band plays and the characters sing. Any music and even some of the sound effects for the play would come from there. Stage left would be the entrance/exit to the bar to and from the outside. On the backdrop itself would be a ledge that would serve as a shelf when they need it, a poster or two(one of an African-American pop star that is mentioned and maybe one dealing with the current events), and some of those cheap plastic colorful lanterns strung along the top.
As for the set pieces, large set pieces such as the bar, pool table, and bed(s) would be rolled on and off stage and would lock into place so that they don't move around when they're not supposed to. Smalled set pieces such as tables and chairs would be carried on and set where they need to be. For the outdoor scenes, all of the set pieces would be removed.
The rest of the theatre will help to set the mood. Fake jungle plants that look like those of the Congo will be placed where they can, carefully placed so that they don't obstruct others' views. The tables will also have colorful tablecloths that reflect traditional designs of the Congo.
If I were to stage ruined, I would like to stage it in the Jaeb Theatre at the Tampa Bay Performing Arts Center(TBPAC). I would stage it there because Tampa is a larger city with a fairly diverse population. There is also a lot of theatre already there. The Jaeb theatre itself is rather small, so it should allow everyone in the audience to see what's going on onstage, from large actions to the small minute details. There are also tables and chairs in the theatre so that the audiece can sit at them and even eat and/or drink as if they really were at Mama's place.
A floor plan of the Jaeb Theatre:
The Scene and Set Design
The play mostly takes place indoors with a few scenes taking place right outside the building, so the set should be made to look like both. The backdrop would be painted to look like it is made of wood and/or bamboo, which is probably what the building was made of. To the stage right part of the stage would be a doorway with either a door or a beaded curtain in it. For the bedroom scenes, this would be the doorway to the hall or stairs, bar scenes- the door to the back, and for outdoor scenes, the door to inside the building. To the far stage right, there would be a raised platform, which is where the band plays and the characters sing. Any music and even some of the sound effects for the play would come from there. Stage left would be the entrance/exit to the bar to and from the outside. On the backdrop itself would be a ledge that would serve as a shelf when they need it, a poster or two(one of an African-American pop star that is mentioned and maybe one dealing with the current events), and some of those cheap plastic colorful lanterns strung along the top.
As for the set pieces, large set pieces such as the bar, pool table, and bed(s) would be rolled on and off stage and would lock into place so that they don't move around when they're not supposed to. Smalled set pieces such as tables and chairs would be carried on and set where they need to be. For the outdoor scenes, all of the set pieces would be removed.
The rest of the theatre will help to set the mood. Fake jungle plants that look like those of the Congo will be placed where they can, carefully placed so that they don't obstruct others' views. The tables will also have colorful tablecloths that reflect traditional designs of the Congo.
Sunday, April 18, 2010
Arabian Nights
Because of the fact that I was on the crew for Arabian Nights making and fixing costumes, I probably have a very different perspective of it than those who simply went to see it. Although I had seen and heard bits and pieces of different scenes, I had not actually seen the show in full until the first Saturday of it's two-week run. For me, the general mood in the audience seemed to be excited about the show and in awe of the beautifully done set, complete with hanging lanterns and rugs all over the stage, along with a few trunks and Sharyaar's "bedroom" hidden behind a curtain. This also probably spiked their curiosity about how the lanterns and trunks would be used in the production as well as what was behind the curtain.
The Audience seemed to enjoy the show and laugh where it was appropriate. The first time I saw it, I watched it with my parents and younger sister who had just come home from a week in a France and was in turn, spared from me constantly talking about the show and what was in it. They laughed at parts that they thought amusing and even acted shocked at the scenes of Perfect Love and the Merchant in the tent and the Jester's Wife "greeting" her lovers. Jill(the sister) was especially shocked and even looked at me for confirmation that what was happening on the stage was actually happening. The second time I saw it, I saw it with a friend who came in from Orlando and he just laughed at most everything that was supposed to be funny, but not as shocked because I kinda told him about the play beforehand.
The responses of the audience confirmed that the play was indeed, comedic for the most part and some of them were even surprised to find that "The Wonderful Bag" story was primarily improv, thus why it was filled with things from Twilight, Harry Potter, The Neverending Story, and Avatar. To be honest, I was little worried that people who are from the Middle East might not like play, but when I asked my friend Mohamed who is here from Egypt what he thought of it, he said that he really liked it and even told his friends who are also here from Egypt how good it was and that they should go see it. I am happy that my worries about Middle Easter people disliking the play were not confirmed in the least bit.
As for discussing the show afterwards, I didn't really go into a lot of discussion, unless that very long adjudication after one of the shows counts. For the most part, I asked friends and family what they thought of the play and what their favorite story was. Everyone I asked said that they loved it and some even had trouble picking a favorite story because they were all so good! That is something else that made me happy because its no secret that everyone involved in it worked really hard to make it such a great experience.
This play was very different from any film. The stage was a thrust stage, so the audience was very close to the action. The second time I saw it, I was sitting near stage left, close enough to feel the heat from Alejandro's fire breathing. The actors also had the chance to interact with the audience somewhat- some made side comments to amuse them, while others actually turned to say things directly to the audience members near them.
The main conflict of the play was between the king, Sharyaar and his newest wife, Scheherazade. The conflict arises from him wanting to kill her as he did with all his previous wives and her not wanting to get killed and stop the cycle of violence. In a way, Sharyaar represents madness and Scheherazade represents peace. Sharyaar wants to get revenge for his first wife who was unfaithful, and as previously mentioned Scheherazade wants to bring peace to the kingdom by stopping the murders. Its hard to say when the climax is- it could be towards the end when Sharyaar realizes that he loves his wife and decides to set her free, but she wishes to stay with him. One could also say that the idea of the play is that that sometimes a peaceful, clever solution is the best way to overcome even the worst of problems. For me, this means that sometimes you have to think outside the box if you're suddenly thrown into a tough situation and to never lose faith in yourself.
Sunday, March 7, 2010
African storytelling
Thousands of years ago, African tribes began telling stories in order to share their thoughts, feelings, and beliefs as well as to explain the world around them. They also told stories about their geneology and history. Storytelling was also a popular form of entertainment in ancient Africa and still is today. In fact, all tribes in Africa enjoy storytelling.
Animals played an important role in many of the stories, considering that the people lived in such close proximity with them. They even attributed some human feelings and desires to animals. Some of the popular animals included the antelope, snake, spider, chameleon, tortoise, and spider.
The antelope suggests power and elusiveness of spirits since they are viewed as creatures of speed and grace.
In stories, the snake was viewed as immortal because it shed it's skin and continued to live.
The chameleon was one of the creatures that helped to create the universe. It was also supposed to be the creature to delived the message of the Great One to all of the people, but wasn't able to because he was too slow. Now the chameleon brings death to the world
The tortoise often played the part of the trickster who projected evil forces and behaviors that we all have to deal with.
The spider, called "Anansi" by some tribes was depicted as the cleverest of all animals and is one of the most popular creatures in the stories.
Anyone in the tribe can tell stories, but the official storytellers are called "griots". There is usually only one per village and their job is to learn centuries worth of stories and traditions, including the genealogy of everyone in the village. If someone from another tribe or village tried to steal another one's griot, it could be a call for war.
Many stories have audience participation where the listeners “respond” to the griot’s “calls”. The audience may also have a chant to say.There can also be a community chorus. Stories are usually told sitting around the fire or under a tree.
Sources:
http://arted.osu.edu/kplayground/storytelling.htm
http://www.timsheppard.co.uk/story/dir/traditions/africa.html
http://www.africa.mrdonn.org/griots.html
http://www.mrdowling.com/609ancafr.html
Animals played an important role in many of the stories, considering that the people lived in such close proximity with them. They even attributed some human feelings and desires to animals. Some of the popular animals included the antelope, snake, spider, chameleon, tortoise, and spider.
The antelope suggests power and elusiveness of spirits since they are viewed as creatures of speed and grace.
In stories, the snake was viewed as immortal because it shed it's skin and continued to live.
The chameleon was one of the creatures that helped to create the universe. It was also supposed to be the creature to delived the message of the Great One to all of the people, but wasn't able to because he was too slow. Now the chameleon brings death to the world
The tortoise often played the part of the trickster who projected evil forces and behaviors that we all have to deal with.
The spider, called "Anansi" by some tribes was depicted as the cleverest of all animals and is one of the most popular creatures in the stories.Anyone in the tribe can tell stories, but the official storytellers are called "griots". There is usually only one per village and their job is to learn centuries worth of stories and traditions, including the genealogy of everyone in the village. If someone from another tribe or village tried to steal another one's griot, it could be a call for war.
Many stories have audience participation where the listeners “respond” to the griot’s “calls”. The audience may also have a chant to say.There can also be a community chorus. Stories are usually told sitting around the fire or under a tree.
Sources:
http://arted.osu.edu/kplayground/storytelling.htm
http://www.timsheppard.co.uk/story/dir/traditions/africa.html
http://www.africa.mrdonn.org/griots.html
http://www.mrdowling.com/609ancafr.html
Tuesday, February 23, 2010
Bunraku Puppet Theatre
In the 1600s Japan, a type of puppetry, known as "Bunraku" came into became especially popular in the 1700s and 1800s, even becoming more popular that the ever-famous Kabuki theatre. It originated in Osaka and is also called "ningyo joruri", which means "puppet" and "chanted narration". Unlike most puppet shows in the western world, Bunraku puppet shows were directed more towards adult audiences with more cultivated tastes and more things than just the puppets to interest the audience(see the slightly raised platform).
The puppets range anywhere from half life-size, to fully life size. Every major character is manipulated by three puppeteers that the audience can see. The main puppeteer, or "omozukai" will move the right arm, eyes, eyelids, mouth, and eyebrows and is often colorfully dressed, while the first assistant will take care of the left arm, and the second assistant will move the legs, the assisants being clad in black hoods(let's just pretend they're not there, 'kay?). In order to become an omozukai, one must train as an assistant puppeteer for ten years.
To the right of the stage is a slightly raised platform where the chanter, or "tayu" sits. The tayu is also the voice for all the puppets, regardless of their age or gender. Also sitting on that platform is a shamisen player who provides some music for the play. There is also an "jouriri", who narrates the plays. The jouriri, tayu, puppeteers, and shamisen player must have perfect synchronization to make the performance work. The people sitting on th platform also provide something else for the audience to watch.
Chikamatsu Monzaemon (1653-1724) was the playwright for many of the Bunraku plays during it's peak. Many of his plays had contemporary and historical interest, including "Suicides at Sonezaki", which was based on a true love-suicide story(think "Romeo and Juliet"). Many of the themes in bunraku plays dealt with the Buddist and Christian morals of the Edo-period(1600~1868), during which many of the plays were set.
Bunraku theatre has survived due to government support as well as two theatres- the National Theater located in Tokyo and the National Bunraku Theater, which is in Osaka(it's birthplace!).
And now a video for you.....
I got my info from......
"About Bunraku Puppet Theater." Web Japan : Top Page. Web. 24 Feb. 2010..
"Japanese Culture - Entertainment - Bunraku." Japan-Zone.com - Japan Travel Guide, Japanese Pop Culture, History, Japanese Girls, Japanese Guys. Web. 24 Feb. 2010..
The puppets range anywhere from half life-size, to fully life size. Every major character is manipulated by three puppeteers that the audience can see. The main puppeteer, or "omozukai" will move the right arm, eyes, eyelids, mouth, and eyebrows and is often colorfully dressed, while the first assistant will take care of the left arm, and the second assistant will move the legs, the assisants being clad in black hoods(let's just pretend they're not there, 'kay?). In order to become an omozukai, one must train as an assistant puppeteer for ten years.
To the right of the stage is a slightly raised platform where the chanter, or "tayu" sits. The tayu is also the voice for all the puppets, regardless of their age or gender. Also sitting on that platform is a shamisen player who provides some music for the play. There is also an "jouriri", who narrates the plays. The jouriri, tayu, puppeteers, and shamisen player must have perfect synchronization to make the performance work. The people sitting on th platform also provide something else for the audience to watch.
Chikamatsu Monzaemon (1653-1724) was the playwright for many of the Bunraku plays during it's peak. Many of his plays had contemporary and historical interest, including "Suicides at Sonezaki", which was based on a true love-suicide story(think "Romeo and Juliet"). Many of the themes in bunraku plays dealt with the Buddist and Christian morals of the Edo-period(1600~1868), during which many of the plays were set.
Bunraku theatre has survived due to government support as well as two theatres- the National Theater located in Tokyo and the National Bunraku Theater, which is in Osaka(it's birthplace!).
And now a video for you.....
I got my info from......
"About Bunraku Puppet Theater." Web Japan : Top Page. Web. 24 Feb. 2010.
"Japanese Culture - Entertainment - Bunraku." Japan-Zone.com - Japan Travel Guide, Japanese Pop Culture, History, Japanese Girls, Japanese Guys. Web. 24 Feb. 2010.
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