I thought about Hungry as a very flexible piece in terms of direction with, as what Priscilla mentioned, its many themes and possible directorial approaches. The playwright, I feel, approached the problems he saw in society today in a very wholesale and rounded approach. There would always be one character there that everyone can relate to, even with Mug.
Because it is so flexible, I do somewhat disagree with Priscilla's viewpoint of a realistic set. Whatever the play stated about the toilet bowls, may not be. Sarah may not be eating shit, Mug may not really have been a Sri Vijayan God, Death may not be dressed up as say... the grim reaper. We should not be cooped in by the demands of the text because this script, was not the manuscript. It may have been a transcript of the original performance. Whatever is in here may have been the directorial vision of the original director. If we were to make it relatable to our audience (say the general theatre public) we need to make them realize that "Hey! I've been here before! I've felt like this before!. Simply, it need not be a bio lab or a canteen.
If I'm not mistaken we are exploring how people only realize how good something is after it is gone. Just to remind myself before I go off track. =P
Cat, Lost and Found:
One interesting part about "Cat" was how the characters were very exaggerated. Be it overly dramatic, overly shy, overly er... Neanderthal-ish, and this does reflect their own character in the play and what it brought to the play. Hungry's script is very short for 6 characters to be properly fleshed out and shown on stage. This exaggeration of characteristics does allow us to let the audience immediately know what our character is without even saying a word. Note, I don't just mean characteristics, but the emotion behind the words as well. Perhaps, instead of distressed and desperate, Sarah could speak in monotone to represent her monotonous lifestyle and search for answers she could never find. Gwak could be overly emotional and melodramatic to display her hunger for recognition and perhaps even attention.
Another thing I liked about Cat was how the set changed to be a bus, cinema, cliff, boat... The flexibility of the set solved many logistical issues but also allowed us to think that, in Cat, we are all looking for something. That's what we all share, and that is why, no matter where we are, we will always be looking. The blankness of the set in Cat also meant that there was no definition to the set piece. A chair could easily become a cliff face or a piece of a boat. Once again, no matter where we are, no matter what we are looking for, we are all searching. That's why it's blank! It's all the same. At least that was one aspect of it. Perhaps like what the others have said, the use of a recurrent object to create different things could easily represent the similarity in each character's "hunger". We are all hungry for something.
Destinies of Flowers:
Before I start, I'm going to say that I tend to be more sensitive to sets after doing a lot of set design the past month or so.
One word that came to mind when I think of Destinies was Death. I don't know if it was an intended effect from the director but now that I think of it, it felt like death, and the chaos in death. You may still be alive but it felt... deathly. =P Actually, the destiny of flowers is for them to wilt anyway... hmmmm... that came like a bolt of lightning. Anyway, the set did portray death quite well. The spikes, the sharp edges, and that thing that flower was standing on looked like a coffin I think. What we are looking at with Hungry is much more peaceful I think. Not so much bulimia or hanging but more of the post death thing. I had recently visited a chinese crematorium in Bukit Timah and I do have a few images we could use. To emphasize death, and perhaps how it has happened to everyone, we could use the image of rows and rows of these little marble tablets with people's name and picture on them. They represent each person who has passed away, almost like a long list of dead people. One interesting thing though was when my grandmother was telling me about those with no name but an orange piece of paper on them with the word "shou" on it, it was people who have yet to die. My Grandma pointed out her slot. Like preparing to die while you're still alive. Or is it acceptance?
Misc:
At the same place I saw a huge black obelisk that paid homage to the nameless dead in Singapore. The immigrants who have no one left to accept them. I think the image of something huge, like a huge epitaph, gives a very strong sense of monumental er... greatness. Something huge happened. It also gives the play a large focus and a nucleus around which the electrons can revolve around and energy can be concentrated. Perhaps we could use this idea to focus our energy in the play and perhaps play around with its symbolism. A bit dry here but put it out so that we could work on it perhaps.
When we use puppets, we not only need to think about why we are using them but also the medium in which puppetry exists in. Using a puppet to play a character, especially if it is a marionette and if there is live acting, gives the sense of being controlled by something out there. Some entity is manifesting it. That is if you want to look at the form. Another way we can use puppetry in this piece is to perhaps allow our actors to really look back on what they had done. This is especially so for Mui Choo when she looks back at her drowning. It is no longer in her control but she is still watching it. The stories of "Adam and Eve" could also be represented in the form of puppetry as it is a story that does not really happen in real life. Once again, the characters are watching it. Perhaps even baby and death could be the puppeteers and control their story, signifying how only death and the truly innocent can treasure life and take control of it. (off the top of my head)
I think we need a think thank session to really ask ourselves what we FEEL about the play and not keep analyzing it. This is so that we can bounce off more ideas for set design. Where have we seen these events happening in the world today? Regret etc. Are there Icons we could use? Well known Icons and Logos even that could help us.
Perhaps we could use a clock somewhere to show the relativity of time. Perhaps our set could be based around clocks. Some move forward, some backward. Some are forced backward by the characters to signify their regret whereas some are moved forward to signify frustration in how slow it moves. We could have characters on clocks and characters wearing clocks.
Remember I said earlier about how what is in the text may not actually be physically what it is. What I thought the original set designer was going for was to show how shitty life could be and his focus was Sarah's line about us being shit making machines. However, that is not our focus. Why are we using toilets? How does it help us bring out what we want the audience to get? We want to show regret and maybe hunger for what we once had or for what we want to have. So... yea I don't quite agree with the toilet. Just a vote and no hard feelings I hope.
Showing posts with label Directing. Show all posts
Showing posts with label Directing. Show all posts
Tuesday, December 29, 2009
Monday, December 28, 2009
Boo's thoughts on directing Hungry
What I liked from previous productions:
Destinies of Flowers:
They allowed the audience to use their own imagination. They sort of mimed their actions out by using body isolation. I think we can all use it when we illustrate our story out to the audience!
Eg: Muichoo sinking down. Isolate her upper body and lower body when she's halfway in the water then move the isolation up. Can imagine what I'm trying to say?
Romeo:
How they used different coloured lights to represent different feelings! Blue for melancholic, red for anger, mixture of colors for mixture of feelings. I think it's really important because it affects the mood of the audience. Music played a major role too! Different music was used to represent the different feelings. It collaborated with the lightings very well and brought the whole show to a new level!
Eg: Using different colour of lights to label scenes like "past","toilet" and "lab". Music and lightings to change together will be interesting!
POOP:
Using objects to represent an action/scene/something! Like how the potty was used in only a scene. It was then shown to us as a prop (but not using it) to represent the previous scene. They use certain objects to relate to certain happenings. The use of lights was great! It created a better flow between scenes as they used lights to define the space rather than using props. USE OF PUPPETRY IS AWESOME (you know what I mean)! Puppetry broadens our imagination. It allows us to think out-of-the-box and play the impossible.
Eg: (Random thought!) Use a cake (you know those orange cake ppl use to worship e dead?) at the beginning to represent our death. Use puppetry to say stories and do the impossible! Like for Muichoo's scene, when she's drowning, use shadow puppetry to show her sinking deeper.
LIV:
What I actually liked was the costume and make-up. They had make-up that really made them look older and more tired. One of the characters had a very messy hairdo and she wore sunglasses when she first went onto the stage. It shows how much she wants to hide the fact that she has not been sleeping well. Her costume was something funky, showing about her life actually being lively (or too lively?) The office guy had serious eye bags and even though he was dressed in office wear, he looks unkempt. The fidgety character was wearing a blue dress that was neat. It shows off her character well. The weirdo is just in earth colored clothes that were quite neutral. I guess he doesn't need any form of costumes to represent his weirdness.
Eg: We can use white make-up (like butoh) for our faces to represent us being dead.
Styles that would suit Hungry:
Expressionism mixed with bits of selective naturalism, right? Although there's a few elements of expressionism that is missing in Hungry, I think expressionism fits it best. (I read the interview already!) "Expressionist plays often dramatize the spiritual awakening and sufferings of their protagonists." quoted from Wikipedia.
Reasons:
Naturalism is a big no-no since Hungry is so episodic and about supernatural beings! And since it's so episodic, it should be Expressionism, yea? The scenes are real with characters that are unreal. So.. that's where selective naturalism comes in. Sets can be as real as we want?
Elements that Hungry should have:
PUPPETRY, definitely. There are many scenes where puppetry can come into place, especially shadow puppetry. Shadow puppetry can be used to illustrate the character's past. It gives a feeling like we're looking back into the past as it's blurry like how our memories are. Puppetry can be used to do exaggerated actions that humans can't do at times.
Eg: I suddenly had this idea at Muichoo's flashback! We can use shadow puppetry to show her sinking down and blow real bubbles!! (HAHAHA JUST A SUGGESTION)
ONE SET. Our scenes are already episodic, so if we have many scene changes, it'll confuse the audience. We should just have one set and light changes to show the scene changes. A simple set will be good. Like a toilet bowl for Sarah and Guakawakaweena, a lab trolley for Muichoo and Baby and a canteen table for the canteen scene.
LIGHTS. Special lights!! It'll enhance the effects. Different colours for flashback scenes will show the difference between 'life' and memories.
(PS: Sorry for this super late post! I just came back from Malaysia yesterday. Sorry sorry sorry!!)
Destinies of Flowers:
They allowed the audience to use their own imagination. They sort of mimed their actions out by using body isolation. I think we can all use it when we illustrate our story out to the audience!
Eg: Muichoo sinking down. Isolate her upper body and lower body when she's halfway in the water then move the isolation up. Can imagine what I'm trying to say?
Romeo:
How they used different coloured lights to represent different feelings! Blue for melancholic, red for anger, mixture of colors for mixture of feelings. I think it's really important because it affects the mood of the audience. Music played a major role too! Different music was used to represent the different feelings. It collaborated with the lightings very well and brought the whole show to a new level!
Eg: Using different colour of lights to label scenes like "past","toilet" and "lab". Music and lightings to change together will be interesting!
POOP:
Using objects to represent an action/scene/something! Like how the potty was used in only a scene. It was then shown to us as a prop (but not using it) to represent the previous scene. They use certain objects to relate to certain happenings. The use of lights was great! It created a better flow between scenes as they used lights to define the space rather than using props. USE OF PUPPETRY IS AWESOME (you know what I mean)! Puppetry broadens our imagination. It allows us to think out-of-the-box and play the impossible.
Eg: (Random thought!) Use a cake (you know those orange cake ppl use to worship e dead?) at the beginning to represent our death. Use puppetry to say stories and do the impossible! Like for Muichoo's scene, when she's drowning, use shadow puppetry to show her sinking deeper.
LIV:
What I actually liked was the costume and make-up. They had make-up that really made them look older and more tired. One of the characters had a very messy hairdo and she wore sunglasses when she first went onto the stage. It shows how much she wants to hide the fact that she has not been sleeping well. Her costume was something funky, showing about her life actually being lively (or too lively?) The office guy had serious eye bags and even though he was dressed in office wear, he looks unkempt. The fidgety character was wearing a blue dress that was neat. It shows off her character well. The weirdo is just in earth colored clothes that were quite neutral. I guess he doesn't need any form of costumes to represent his weirdness.
Eg: We can use white make-up (like butoh) for our faces to represent us being dead.
Styles that would suit Hungry:
Expressionism mixed with bits of selective naturalism, right? Although there's a few elements of expressionism that is missing in Hungry, I think expressionism fits it best. (I read the interview already!) "Expressionist plays often dramatize the spiritual awakening and sufferings of their protagonists." quoted from Wikipedia.
Reasons:
Naturalism is a big no-no since Hungry is so episodic and about supernatural beings! And since it's so episodic, it should be Expressionism, yea? The scenes are real with characters that are unreal. So.. that's where selective naturalism comes in. Sets can be as real as we want?
Elements that Hungry should have:
PUPPETRY, definitely. There are many scenes where puppetry can come into place, especially shadow puppetry. Shadow puppetry can be used to illustrate the character's past. It gives a feeling like we're looking back into the past as it's blurry like how our memories are. Puppetry can be used to do exaggerated actions that humans can't do at times.
Eg: I suddenly had this idea at Muichoo's flashback! We can use shadow puppetry to show her sinking down and blow real bubbles!! (HAHAHA JUST A SUGGESTION)
ONE SET. Our scenes are already episodic, so if we have many scene changes, it'll confuse the audience. We should just have one set and light changes to show the scene changes. A simple set will be good. Like a toilet bowl for Sarah and Guakawakaweena, a lab trolley for Muichoo and Baby and a canteen table for the canteen scene.
LIGHTS. Special lights!! It'll enhance the effects. Different colours for flashback scenes will show the difference between 'life' and memories.
(PS: Sorry for this super late post! I just came back from Malaysia yesterday. Sorry sorry sorry!!)
Friday, December 25, 2009
Afiqah's Thoughts on Directing Hungry
When i first read the text, Hungry, i definitely saw a lot of potential for it. it would give us a lot of material to work with because the themes were accessible and close to our hearts.
the play itself is surreal, i mean who can imagine ghosts actually roaming about, with practically nothing to do? But this in itself is something that we can use to enhance the performance- and by this i mean to play up the surreal factor of the set, yet keeping it simple at the same time. this justaposes with the realistic acting style of the actors will make for a unique and enlightem=ning piece.
Set- i see POOP as our inspiration for out set. it does not have to be realistic, however, to just have the elements of the parts of the scene and representing it. after the talk with Tze Chien, i feel that this is the way that we should consider our settings. Another thing that caught mu attention was when Tze Chien talked about having audiences in the acting space itself, to really be involved in the drama while at the same time know that it is not real, to create a different sense of acting compared to today's realism. I was thinking that we have 4 toilet bowls(like the original set) but place them in the north south eat west formation? what do you guys think?
just a though tho.
Acting- the characters in Hungry are not shallow, they have many layers and for this, i think that realism acting following Stanislavski's would be the best. even though the characters are not alive, they have experienced life to which they now look back on and their actions should reflect that.
MISC- ok, we have talked a lot about puppets, be it like poop style or shadow puppetry, i thibnk that the use of puppets would add to the feeling of surrealism on the play. it has also quite a nice effect, such as the one that we saw in POOP. however, we have to note that in POOP, the use of Puppets is limited and that is what made it work, its subtleness. therefore, i think that we can try to follow this, but ommph it up a bit to make our surreal set more - well- surreal.
i also thought about using puppets for the flashback scenes, since essentially, the characters are dead, it would make more sense then, yes?
as for other inspirations, i have yet to find them. i will definitely post them up when the inspirations strikes.
-afiqah
the play itself is surreal, i mean who can imagine ghosts actually roaming about, with practically nothing to do? But this in itself is something that we can use to enhance the performance- and by this i mean to play up the surreal factor of the set, yet keeping it simple at the same time. this justaposes with the realistic acting style of the actors will make for a unique and enlightem=ning piece.
Set- i see POOP as our inspiration for out set. it does not have to be realistic, however, to just have the elements of the parts of the scene and representing it. after the talk with Tze Chien, i feel that this is the way that we should consider our settings. Another thing that caught mu attention was when Tze Chien talked about having audiences in the acting space itself, to really be involved in the drama while at the same time know that it is not real, to create a different sense of acting compared to today's realism. I was thinking that we have 4 toilet bowls(like the original set) but place them in the north south eat west formation? what do you guys think?
just a though tho.
Acting- the characters in Hungry are not shallow, they have many layers and for this, i think that realism acting following Stanislavski's would be the best. even though the characters are not alive, they have experienced life to which they now look back on and their actions should reflect that.
MISC- ok, we have talked a lot about puppets, be it like poop style or shadow puppetry, i thibnk that the use of puppets would add to the feeling of surrealism on the play. it has also quite a nice effect, such as the one that we saw in POOP. however, we have to note that in POOP, the use of Puppets is limited and that is what made it work, its subtleness. therefore, i think that we can try to follow this, but ommph it up a bit to make our surreal set more - well- surreal.
i also thought about using puppets for the flashback scenes, since essentially, the characters are dead, it would make more sense then, yes?
as for other inspirations, i have yet to find them. i will definitely post them up when the inspirations strikes.
-afiqah
Wednesday, December 23, 2009
Pris's thoughts on directing Hungry
Hungry is essentially a non realistic piece. However the issues that it deals with as well as the way in which they are introduced and dealt with are all realistic. Thus, I think that we should use a realistic set but in a non realistic setup. Which means that each individual component will look real, but put all together, they will look unreal. This is similar to POOP’s set design. However, unlike POOP’s design I don’t think there is a need to have a bigger version of the set behind and a smaller one in front because we aren’t dealing with the issue of size here.
ACTING- As for the acting, realism is the safest and the most appropriate since I want the audience to be able to relate to the characters and think about the issues that the play presents.
NON REALISM- To contrast the realism, the setup and the lights could be done non-realistically with hard lights and a split up set. In addition, puppets can be use to give the audience the sense that they are not in the real world.
PUPPETS- However, with regards to the puppets, using them is a great idea but one has to ask WHY. Justification has to be given. HOW does it help us bring out our DV? I’m not too sure what it is. We can say that we wanted to make sure that the audience knew they were not dealing with real life. Are there any more reasons?
Here are a list of productions that I considered and the reasons as to why their set up would not suit Hungry’s.
I) Woyzeck- NO
· There was an uneven distribution of roles. If we divide it evenly it might get confusing.
· The chorus played the part as commentators, the public; as well as an extension of the protagonists mind- which we can’t have in Hungry because it does not suit its purpose.
· Hungry’s set is quite specific, and trying to recreate it using one object like Woyzeck’s chairs isn’t all that reasonable.
As for the rest like cheeseboy, -ing, Romeo, Death of a critic, Tree duet. Nothing significant that we can use stands out.
We could use Madwoman’s set design with the sheets at the back. But we need to make sure that only one action is taking place at a certain point of time. Either shadow puppetry or live acting. NOT both.
ACTING- As for the acting, realism is the safest and the most appropriate since I want the audience to be able to relate to the characters and think about the issues that the play presents.
NON REALISM- To contrast the realism, the setup and the lights could be done non-realistically with hard lights and a split up set. In addition, puppets can be use to give the audience the sense that they are not in the real world.
PUPPETS- However, with regards to the puppets, using them is a great idea but one has to ask WHY. Justification has to be given. HOW does it help us bring out our DV? I’m not too sure what it is. We can say that we wanted to make sure that the audience knew they were not dealing with real life. Are there any more reasons?
Here are a list of productions that I considered and the reasons as to why their set up would not suit Hungry’s.
I) Woyzeck- NO
· There was an uneven distribution of roles. If we divide it evenly it might get confusing.
· The chorus played the part as commentators, the public; as well as an extension of the protagonists mind- which we can’t have in Hungry because it does not suit its purpose.
· Hungry’s set is quite specific, and trying to recreate it using one object like Woyzeck’s chairs isn’t all that reasonable.
As for the rest like cheeseboy, -ing, Romeo, Death of a critic, Tree duet. Nothing significant that we can use stands out.
We could use Madwoman’s set design with the sheets at the back. But we need to make sure that only one action is taking place at a certain point of time. Either shadow puppetry or live acting. NOT both.
Sunday, December 20, 2009
Steph's thoughts on directing hungry
Ideas that I like from previous productions
- In destinies of flowers, there were 2 stories unfolding within the performance space, segregated only by different levels. This might take time, but I thought it would be good to have one space used for time-of-death scenes and the other for purgatory. Or we could do certain scenes together, reconstruct the play to be more interesting? For example, the mui choo and baby death scene could be done on the same stage. The water effect of the womb and the drowning will be the theme of lights/shadow puppetry for the scene. We could show how baby was disappointed and in pain during the abortion alongside Muichoo's thoughts of losing her baby during drowning.
- In R0meo and Woyzeck, there was a recurring symbol. Maybe we could think of an object that best represents hungry/greed in an asian concept. Booboo can think of some chinese idiom about greed that has an object in it.
- For POOP, I thought their use of sidelights was interesting. We could do the "please do not cross the yellow line" thing at the mrt. Make sarah die in the railway tracks so we adapt hungry to Singapore today. However, we will still keep the toilet scene cus shit is important in this play (lol).
- In Madwoman's Diary, I felt that their use of shadow puppetry was interesting. Like what I suggested before, I felt that the "humans" could be a shadow of the ghost world. Shadow puppetry could tell parts of the story too, like the garden of Eden.
- Seven boards of tricks used a simple set design to show different shapes and scenes. I felt that boxes could be turned to chairs, tables and toilet bowls that open up to give you things like shit.
- SRT's Midsummer's in 2007 had an interesting stage that looked like |++| The lines represent the elevated performance space and the spaces in between are where the audience sit.
Styles which I think would suit Hungry best
The episodic nature of expressionism, the simple concept of realism (realism in selective naturalism) and shadow puppetry (and other forms of puppetry where needed).
Reasons
There is no way the play is going to be naturalistic, it is definitely episodic.
We want realism so that the audience still can relate to the characters who are from a different dimension.
The play if in a different world. We need puppetry to show elements of that dimension that is not present in real life. Furthermore, the use of shadows is apt as our world is a shadow of theirs and their world a shadow of ours. Shadows connect our dimensions together.
Elements which I think Hungry should have
I picked most of the elements out from the plays I have watched already.
However, in addition to that, I felt that we should include more elements of movement and puppetry. scramble the script and pick out only important lines. I felt that a well made play structure would make it so much more interesting. We could improv certain scenes during workshopping. Find objectives of certain scenes and show, using movements and puppetry, those objectives without lines. Then we insert certain important lines/ repeat those lines so that the audience will get it. It is no use saying an important line once because the audience will forget it. Unless there are very little lines or many actions that lead up to that one line, chances are, the audience will forget that line because there are so many other lines.
Also, I agree with Melvyn on a very very simple set. boxes can be used to create tables or chairs. The scene could be shown through the shadow puppetry backdrop. The boxes can be aligned to be the round canteen table or the straght bio lab table. they can even be drawn on to show the actual shape of the object. Different sides can be used/covered. We draw lines on the boxes and when they come together they form a shape.
- In destinies of flowers, there were 2 stories unfolding within the performance space, segregated only by different levels. This might take time, but I thought it would be good to have one space used for time-of-death scenes and the other for purgatory. Or we could do certain scenes together, reconstruct the play to be more interesting? For example, the mui choo and baby death scene could be done on the same stage. The water effect of the womb and the drowning will be the theme of lights/shadow puppetry for the scene. We could show how baby was disappointed and in pain during the abortion alongside Muichoo's thoughts of losing her baby during drowning.
- In R0meo and Woyzeck, there was a recurring symbol. Maybe we could think of an object that best represents hungry/greed in an asian concept. Booboo can think of some chinese idiom about greed that has an object in it.
- For POOP, I thought their use of sidelights was interesting. We could do the "please do not cross the yellow line" thing at the mrt. Make sarah die in the railway tracks so we adapt hungry to Singapore today. However, we will still keep the toilet scene cus shit is important in this play (lol).
- In Madwoman's Diary, I felt that their use of shadow puppetry was interesting. Like what I suggested before, I felt that the "humans" could be a shadow of the ghost world. Shadow puppetry could tell parts of the story too, like the garden of Eden.
- Seven boards of tricks used a simple set design to show different shapes and scenes. I felt that boxes could be turned to chairs, tables and toilet bowls that open up to give you things like shit.
- SRT's Midsummer's in 2007 had an interesting stage that looked like |++| The lines represent the elevated performance space and the spaces in between are where the audience sit.
Styles which I think would suit Hungry best
The episodic nature of expressionism, the simple concept of realism (realism in selective naturalism) and shadow puppetry (and other forms of puppetry where needed).
Reasons
There is no way the play is going to be naturalistic, it is definitely episodic.
We want realism so that the audience still can relate to the characters who are from a different dimension.
The play if in a different world. We need puppetry to show elements of that dimension that is not present in real life. Furthermore, the use of shadows is apt as our world is a shadow of theirs and their world a shadow of ours. Shadows connect our dimensions together.
Elements which I think Hungry should have
I picked most of the elements out from the plays I have watched already.
However, in addition to that, I felt that we should include more elements of movement and puppetry. scramble the script and pick out only important lines. I felt that a well made play structure would make it so much more interesting. We could improv certain scenes during workshopping. Find objectives of certain scenes and show, using movements and puppetry, those objectives without lines. Then we insert certain important lines/ repeat those lines so that the audience will get it. It is no use saying an important line once because the audience will forget it. Unless there are very little lines or many actions that lead up to that one line, chances are, the audience will forget that line because there are so many other lines.
Also, I agree with Melvyn on a very very simple set. boxes can be used to create tables or chairs. The scene could be shown through the shadow puppetry backdrop. The boxes can be aligned to be the round canteen table or the straght bio lab table. they can even be drawn on to show the actual shape of the object. Different sides can be used/covered. We draw lines on the boxes and when they come together they form a shape.
Saturday, December 19, 2009
Thoughts on Directing Hungry
Ideas that I like from previous productions
- In destinies of flowers, one of the character was positioned segregated from the rest of the characters in the play. She was left there throughout the play but yet was able to bring across her emotions and intentions with impressive physicality. So maybe, we can incorporate this with the character Death.
- In R0meo, one interesting thing we could adopt would be their set design/concept. All they made use were that of boxes, and they were both symbolic and functional. The boxes could even be used as a projector screen. So we could adopt the style of maybe using representational props that are multi-fuctional.
- As for POOP, well we have talked about this before. We have the use of lights to define spaces, as well as using different lights to portray either surreal or realistic scenes. We have the use of puppets as a device to enhance the piece. There are certainly a lot of scenes in Hungry where I can see puppetry being used. Is there a form of puppetry that can make steph look even more like a baby? I think Boo talked about it before. Maybe we can also follow the use of the different dimensions of the props to accentuate Baby's smallness. Scenes of suicide can follow POOP or Cat's innovative way of portrayal. Especially scenes where people are falling. I think those who remember should know.
- In Madwoman's Diary, interesting things to note was their use of projections. Maybe we can project some portions of our play, such as the reservoir scenes, garden of Eden or maybe just general backgrounds. The play used props that symbolised stuff, just like in Void, so maybe we can do that too. Apples, traditional food offerings and the like.
Styles which I think would suit Hungry best
- I think we have no choice but to actually attempt something to the extent of having certain elements of expressionism (READ THE INTERVIEW DONT BE LAZY), as well as selective naturalism. Why? Well because we are unaware of how to properly stage an expressionistic piece. And info is difficult to obtain. So if we just incorporate certain elements, that'll be more apt. Furthermore, Hungry is already a script that can fit into an expressionistic style. Selective naturalism is because there are certain elements in the play where we have to keep things real. After all, we are discussing about life. So, everyday props can be used to represent things or places, therefore eliminating the need for an elaborate set. Furthermore, I think by using certain elements of expressionism, we will be able to better bring forth the issues that our play is dealing with, with the manner of visual composition.
Elements which I think Hungry should have
- Definitely some instances of puppetry. Puppetry is a very theatrical device and can sometimes bring forth the script even more clearly than actors.
- I also think we need to keep things simple by having a very SIMPLE SET. Things like using just a few items to represent a scene. Such as, a stack of books on a table can represent the library already. Maybe a few testubes to represent the lab. It can even come to the extent of plainly just using a few toilet bowls as our set. Toilet bowls can act as chairs and tables too. Just changing the props around it can affect the scene already.
- Another thing I think we should consider is projection. Even though it is a bit difficult to carry off. Visual images through the projections can bring forth the intention of the scene more clearly.
- In destinies of flowers, one of the character was positioned segregated from the rest of the characters in the play. She was left there throughout the play but yet was able to bring across her emotions and intentions with impressive physicality. So maybe, we can incorporate this with the character Death.
- In R0meo, one interesting thing we could adopt would be their set design/concept. All they made use were that of boxes, and they were both symbolic and functional. The boxes could even be used as a projector screen. So we could adopt the style of maybe using representational props that are multi-fuctional.
- As for POOP, well we have talked about this before. We have the use of lights to define spaces, as well as using different lights to portray either surreal or realistic scenes. We have the use of puppets as a device to enhance the piece. There are certainly a lot of scenes in Hungry where I can see puppetry being used. Is there a form of puppetry that can make steph look even more like a baby? I think Boo talked about it before. Maybe we can also follow the use of the different dimensions of the props to accentuate Baby's smallness. Scenes of suicide can follow POOP or Cat's innovative way of portrayal. Especially scenes where people are falling. I think those who remember should know.
- In Madwoman's Diary, interesting things to note was their use of projections. Maybe we can project some portions of our play, such as the reservoir scenes, garden of Eden or maybe just general backgrounds. The play used props that symbolised stuff, just like in Void, so maybe we can do that too. Apples, traditional food offerings and the like.
Styles which I think would suit Hungry best
- I think we have no choice but to actually attempt something to the extent of having certain elements of expressionism (READ THE INTERVIEW DONT BE LAZY), as well as selective naturalism. Why? Well because we are unaware of how to properly stage an expressionistic piece. And info is difficult to obtain. So if we just incorporate certain elements, that'll be more apt. Furthermore, Hungry is already a script that can fit into an expressionistic style. Selective naturalism is because there are certain elements in the play where we have to keep things real. After all, we are discussing about life. So, everyday props can be used to represent things or places, therefore eliminating the need for an elaborate set. Furthermore, I think by using certain elements of expressionism, we will be able to better bring forth the issues that our play is dealing with, with the manner of visual composition.
Elements which I think Hungry should have
- Definitely some instances of puppetry. Puppetry is a very theatrical device and can sometimes bring forth the script even more clearly than actors.
- I also think we need to keep things simple by having a very SIMPLE SET. Things like using just a few items to represent a scene. Such as, a stack of books on a table can represent the library already. Maybe a few testubes to represent the lab. It can even come to the extent of plainly just using a few toilet bowls as our set. Toilet bowls can act as chairs and tables too. Just changing the props around it can affect the scene already.
- Another thing I think we should consider is projection. Even though it is a bit difficult to carry off. Visual images through the projections can bring forth the intention of the scene more clearly.
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