THE BEGGARS OPERA

The Beggars Opera is one of the last examples of the once thriving genre of satirical ballad opera. It is a tale that focuses on the life of the poor. The opera is set in the underworld of London, It specifically focuses on a gang of highwaymen and a gang of Prostitutes who all work for the same man, Peachum.

Peachum is the wealthiest character in the opera. He controls the lives of the poor, when they are making him money they survive, as soon as they become useless he turns them into the law. Each way he makes money.

Previous to the opera’s beginning, Peachum’s daughter Polly has married one of the highwaymen; Macheath. This causes arguments within the family, which leads to Mr and Mrs Peachum plotting to turn in Macheath. This moment is what prompts the rest of the opera. We see Macheath behind bars, where the sailors daughter; Lucy, interacts with him.  We discover they were ex- lovers which then creates tension between Polly and Lucy. Lucy has access to the keys to Macheath’s cell, and although she hates him for ruining her and not marrying her, she lets him go. He is caught again and thrown back into jail.

What Is also interesting about this play is that it is introduced by 2 characters; The beggar and The Player. These characters are only seen in the first and penultimate scene. The last time they are seen is after the play has finished, which sees Macheath go to the gallows. They discuss this scene and then revise it to a happier ending. I think that these two characters make the play more interesting, but also easier to watch.

 

18th CENTURY THEATRE

This term our focus is 18th Century theatre. We have been given the choice between two plays from the era to design for. The designs will be for the RSC’s Swan Theatre in Stratford-Upon-Avon.

The two plays we have been given are ‘The Recruiting Officer’ by George Farquhar (1706) and ‘The Beggars Opera’ By John Gay (1728). Both the plays explore ideas of class however both are very different.

The play I have decided to focus on is ‘The Beggars Opera’, this is because I think the play is the more interesting of the two and so has more to play with. In reading the play a key theme of rebellion stands out to me, and so has led me to consider trying to incorporate the 1970s subculture of the Punk movement into my design scheme. I think that this could give the show an edge and also make it more relatable to modern culture.

beggars-opera

Hogarth’s Beggars Opera etching

RED RED SHOES | FINAL STORYBOARD

OPENING REVEAL:

For when the audience walk into the space, I want the set to be contained within the screens. That way the show is not given away straight away.

Opening Reveal.jpg

FRANVERA’S ROOM:

The screens will open out to reveal Franvera in her normal messy room. A hint of medical still remains due to the screens and the bed. All of her belongings, that will soon become the characters costumes, are strewn on the floor alongside her drawings.

franveras-room

PARTY:

For the party scene, the cast will come on and put up the bunting. The table will be wheeled into the space with glasses on it. This is the moment the red shoes are handed to Franvera for the first time. The bunting could also be used as a dancing ribbon.

party

SCENE 8:

The bed will be moved into the centre of the space. This is the scene where the soldier arrives in Franvera’s house and is attempting to force her out from under the bed.

scene-8

FOREST:

To create the forest in a more lateral way I want the bunting to be pulled around into shapes that the actors can crawl and step through. I want them to almost become branches. I also like the idea that the screens could be wheeled around the space to form pathways.

forest

DOCTORS OFFICE:

The doctor is the only character that is not a part of Franvera’s imagination. She is the only real person in the play other than Franvera herself. For this reason I wanted to make her really different, this is why I chose to not physically include her. I want the doctor to be created through shadow puppetry and sound.

doctors-room

EDGELESS ROOM:

A key image in this play is that of the edgeless room. To create this image I want to utilise the screens. Use them as boundaries that keep getting broken. I like the idea of the boots pushing through a lycra type material. Also I want people to be climbing through.

edgeless-room

SCENE 13:

This scene also takes part in the edgeless room. Franvera is drawing her little pictures, and they come to life, they become massive to almost form a wall. I thought this was another good opportunity to play with shadow puppetry again.

scene-13

REFUGEE CAMP:

Within the play Franvera draws the refugee camp with ‘the lines of washing blowing in the air’ this led me to consider having the cast hang out some washing on the bunting lines for this scene.

refugee-camp

END:

The last scene sees Franvera shot by Red Beard. She leaves the stage by walking into a beam of light, heaven. For this project there is no way to get LX, so I thought I could attempt to create this with the screens and some back lighting.

end

RED RED SHOES | MODEL

To create my model for this projects set design, I was able to try a lot of new techniques. I tried soldering, laser cutting, using the spray booth etc. I really enjoyed attempting these precesses, despite the stress involved when things went wrong.

To create the miniature hospital bed I bent copper wire into the correct shapes and soldered all the parts together. This was such a delicate process, and a time consuming one. However difficult I found this technique, I managed to create a bed that was true to real life.

To create the hospital privacy screens I attempted many different processes. These were the most difficult aspect to build. I tried soldering, using electrical wires, filing foam board, cutting card to no avail. In the end I decided to try laser cutting to create the shapes, and then join them together using wire.

IMG_0087.JPG

IMG_0272.jpgIMG_0279.jpg

RED RED SHOES | COSTUMES

The costume concept for a tourable show needs to be clever, particularly for this show. For this show I have been given 5 actors and a stage manager to play 9 characters plus act as a collective cast. This means each actor will have to take on more than one character, and so more than one costume.

Due to the fact that the majority of the play Red Red Shoes is narrated by the ‘cast’ I am in need of a over all costume that can act as a blank canvas for the actors. To this canvas I will then add small items of costume that allow them to become the more major characters.

For my basic costume I initially contemplated plain ‘blacks’, but soon decided this would be too boring, too amateur for what I wanted to achieve. So this lead me to consider running with the medical theme, and putting them all in a pair of grey scrubs.

For each cast member to become their characters, they will add simple items to their scrubs. The idea is that Franvera is telling her story to a doctor in a medical facility. For this reason I see all the characters apart from the doctor as figments of Franvera’s imagination. Each cast member will pick up items from Franvera’s room to become their character. Franvera’s room will begin a little messy with a lot in it, but by the end of the play it will be very bare, it will become a medical room.

CAST COSTUME:

cast.jpg

FRANVERA:

My idea for franvera’s costume design revolves around the theme of having your life wrapped away from you that features in the play. She begins in a wrap coat which, during the show, she will remove to reveal a cable knit jumper over a skirt. This is then removed to reveal a hospital gown. She will wear red pointe shoes as her ‘Red Red Shoes’. I chose ballet as the form of dance because I think it is the most recognisable form of dance within a young community.

Franvera.jpg

RED BEARD:

‘old soldier with a long wooden coat full of holes, as if he had been shot 100 times but never killed. He has a beard that is so red it glows in the darkness.’

This quote has influenced my vision of Red Beard a lot. I would like him to be dressed in a old fashioned woolen coat ridden with holes. Thinking back to the idea of the characters finding their costumes in Franvera’s bedroom; His coat will also double as her school bag somehow, and to create a red beard he will find a chunky red scarf.

Red Beard.jpg

OLD LADY:

It is mentioned in the play that the old lady is wearing a black shawl. This lead me to consider putting her into a wooden poncho, I think that this is a more modern version of the shawl. The poncho would be found on Franvera’s bed and will double as her blanket.

old-lady

MOTHER:

The mother will also be using the poncho/ blanket as her costume. she will somehow wind it up and use it as a head scarf. This is due to the description of the guests at the party at the beginning of the play. The women are described to be wearing ‘black headscarves’.

mother

FATHER:

The father is a football coach at the local school. I want him to be dressed in a training bib with a whistle around his neck. This is because I think these are objects that you might find in a little girls room, especially if her Dad is a coach.

father

SOLDIER:

The soldier will pick up the lampshade to form a helmet, and also re use the vest as a arm cuff.

soldier

ANNA AND HER FATHER:

I want Anna to be dressed in a little pinafore that she finds in Franvera’s drawers. I think that having her in a school uniform helps again to demonstrate the normality of both characters lives before the events unfold. It is also an item of clothing that Franvera would own.

anna-and-annas-father

 

 

RED RED SHOES | INITIAL STORY BOARD

My design for the touring production of Red Red Shoes is to be set on a traverse stage. I intend to focus the design around the concept of being inside ‘the head of a traumatised child’. I think that this is a significant theme within the play, one that could create something really interesting. For example, as the play is set inside a young child’s mind, it allows the design to be slightly more fantastical (a little bit off). As well as focusing on the mind of a child, I will also look at incorporating a medical feel into the design. This is due to the fact the story continuously flips back to sitting in hospital interacting with a doctor about what has happened to her.

For the opening scene I wanted it to feel relatively normal. The idea that you are within a normal child’s bedroom, but also leave questions there too. One of the key ideas within this scene is that I would like the costumes for the characters in the play to come from Franveras room; as if they were coming from her imagination. An example of this would be the red scarf hanging on her bed becoming Red Beard’s beard. As the actors put on their costume, they strip the bedroom a little barer, until it eventually becomes a stark medical space.

initial-begining

The next space that I have considered is the Drs office. Here the scene would be very stark, very medical. A singular hospital bed in centre stage with lit up medical screens at either end. The doctor as a character, I would like to appear as a shadow puppet; as someone who is excluded from her imagination. Also within this space a small medical table is brought on with a laptop.

I intend to attempt to solder some of these elements together when making my model box. I see them as all being plain silver and metal.

initial-dr-office

When Franvera is forced to leave the town by the soldiers, she enters the forest. To create the forest I want something more ambiguous than literally bringing on trees. So for this scene I have thought about using the bunting to give the illusion of a forest. I want the characters to be able to weave through the bunting as if it were hanging branches. A possible change that I would make to this scene is to make the bunting more autumnal colours, rather than bright red.

To aid the image of a forest I am also contemplating adding different things to put on the floor. These would be to create noises, for example crackles and snaps. This would help the children to imagine the forest even more.

initial-forest

Another strong image in this play is that of the Black Boots. These are the symbol of the soldiers, of Franvera being ripped from her home, Of her losing her father and ultimately of her death. I think that this is a really important image to get right.

I like the idea of the screens containing the boots, and then also the idea of the cast climbing through the screens with big boots on. The idea of the boots coming through the wall of screens also helps to portray the sense of the room being ‘edgeless’. This is another key theme mentioned within the play; The idea of reaching ‘the edge of the edgeless room’. This offers the idea of the containment of the surgery, and also the unstable elements of the young child’s mind.

Another idea I had for this scene was to utilise the bunting in another way. It would be an interesting image if the bunting were to clip to the screens, and then encircle the screens. I think this adds another layer of madness and being trapped.

initial-boots-image

The last space that I have considered is the refugee camp. Again I have considered using the bunting as a scenic element. I came up with the idea of creating a tent around Franvera with the bunting. Although I think this could become interesting aesthetically, I think that  practically it would create some issues.

initial-refugee-scene

RED RED SHOES | THE BEGINNING

I made the decision to design a tour-able show for the play Red Red Shoes. The set, props, costumes and any technical equipment all have to fit into the back of a van, and be set up by the cast within an hour. We have been given a cast of 4-5 actors and 1 stage manager to create this show. This means that 8 characters and all of the cast roles have to be shared between a maximum of 5 actors.

A key thing about this project is that I really want to keep it as simple as possible. I want to focus on a key concept, and cleverly configure a design that portrays it. At the moment I am thinking of focusing the set design around the concept of the head of a traumatised child and also looking at the medical centre.

I like the idea of a traverse production that somehow includes the audience more than the average production. I am considering incorporating a way for the children to get involved by making noises that add to the scenes being set in the play. An idea that could be interesting is experimenting with a way to encourage the children to stamp their feet when Franvera begins to dance.

MASKS | CONSTRUCTION WORKSHOP

Last week we were lucky enough to have a mask maker named Stephen to come in and teach us how to create traditional paper masks. The masks were all to be half face masks, this makes it easier for the wearer to talk and breathe etc. It also makes the whole process quicker, which for us was something we needed.

Our masks were based on characters from one of the two plays; Red Red Shoes and The Ash Girl. Once we had chosen our character, we then picked an adjective out of a box. This adjective would then give our masks emotion. My character was a Wretched Old Lady.

The week began in the workshop with a bit of rough sketching. We were asked to create a continuous line drawing that responded to a number of silly questions that Stephen gave us. A couple of examples of the questions were; What do they smell like? If they were an animal what animal would they be? What landscape would best describe them?

I then flipped the drawing around, moving it so that I was able to pick out key shapes that I could translate into a 3D mask.

The first stage of the mask making process was to sculpt a design out of clay. We used already cast plaster heads, and built clay onto these. A professional mask maker would ideally do a cast of the specific actor that the mask was being made for. Unfortunately for us we did not have enough time within the week to do this too.

The pictures above illustrate the first step of creating my mask. I used small ‘sausage’ shaped pieces of clay to outline the eyes and the edges of the mask. These were the boundaries in which I worked when adding the clay.

thumb_img_0026_1024

To characterise my mask I decided on a large crooked nose, almost witch like, and a hollow bone structure to show the age of the character. An important tip I learnt from this step of the process was to consider the features as lines and planes and not as edges. This important as when the theatre lights hit the mask, the planes pick up light, but the edges would not. I also added wrinkles to the face to help to show the emotion and the age.

The next step in the process was to wet the clay and then cover it in tin foil. The tin foil layer helped to keep the moisture of the clay away from the paper. I found it difficult to do this layer, as it was so easy to rip the foil when smoothing it into the deeper areas.

thumb_IMG_0038_1024.jpg

After the foil it was time for the first layer of paper. We used a mixture of PVA glue and wallpaper paste, better known in the business as cow juice. For the paper we simply used ripped up brown parcel paper. The process is basically that of papé mache.

thumb_img_0040_1024

Creating this mask requires 3 layers. 2 of which are layers of the brown paper (above), between these 2 layers we also added a layer of J cloth. To apply this we used a mixture of PVA glue and polyfiller. This layer makes the mask stronger and more rigid. The only difference with this layer was that we did not put it over the eye wholes or any further than the edges of the mask.

thumb_img_0049_1024

Once we had completed the 2 layers of paper and one of J cloth it was time to remove the mask from the mould. To do this we used the foil to slowly peel it away. Preferably the mask would have slipped completely off the clay, which it did for some of the group, but unfortunately for me my foil took the clay with it. This made the process lengthier for me as I had to scoop all of the clay out of the mask. Once I had completed this lengthy task I then had to embark on another, which was the job of peeling all of the silver foil away from the brown paper, which again took ages.

From this point it was time to trim the mask. This involved getting our scalpels and cutting out the eye holes and nostrils, also trim around the actual mask. Once we had created our cuts we then got the brown paper back out and papered all of our edges.

We now had our mask. The only jobs left were to attach elastic, paint and test them out.

thumb_IMG_0055_1024.jpg

thumb_img_0059_1024

 

 

THE ASH GIRL | GRAPHIC COMIC STRIP

Another development exercise we all created a short graphic comic strip of a scene from The Ash Girl. This was an interesting task for me, as graphic is not my usual style. The exercise definitely got me to direct the play in more detail. It made me think about what the play is trying to say.

I chose Act 1 Scene 11; Who lives in the mirror? This scene is the scene we are introduced to the fairy in the mirror. It is a very long scene, and one of the most typical to the story of Cinderella. I chose to focus on the transformation of Ashie herself. I think that this is an interesting change, as it is all about her feelings toward herself and not just a change of clothes. She begins the scene believing she is ugly and worthless and ends it believing she is beautiful.

Another key part of this scene that I chose to include was a line that Otter says ;

‘Do you have any idea how dangerous fairies are? They’re always changing things, turning the world topsy-turvy. You’re going to change me into something, I can see it in your face.’

I like this quote as Otter is a friend to Ashie and he is almost warning her that she is beautiful the way she is, she doesn’t need the fairy to change anything about herself. She should believe in herself the way she really is.

img_0125

RED RED SHOES | SCULPTURE

As one of the development processes when exploring the play; Red Red Shoes, we were asked to create a sculpture. The idea being that each person within the class creates their own personal response to the play. The only brief we were given to this task was that it had to be a 3D piece, the rest was left to our imaginations.

The first thing I had to consider was; what was my response to the play? I think it is a very relevant topic in the world today. There are a lot of issues in todays society to do with refugees and racial discrimination. I think it is a topic that needs to be discussed with young people, one that they need to understand.

For my sculpture I decided to take a less literal path. I wanted to play on the setting of the play. Charles Way makes a reference to this ;

‘It would be truer to say, however that the play takes place in the head of a traumatised child’.

This stood out to me alongside another quote;

She covers her eyes and waits

and waits, and when she opens them

the boots have gone to the edges 

of the edgeless room.’

Can a room really be edgeless?

Within the play it also states that the setting is a medical centre. All these quotes led me to think about creating a more abstract response to the location of the play.

My sculpture was made up of a sphere, painted to represent the edgeless room, and a ball of wire within, intended to represent the head of a traumatised child.

img_0122