Theatre Design & Technology - Fall 2005 - 35
freedom, security, confinement, and danger for the body
within the psychic structure of the play. My design for John
Shepherd's production of Candide (pictured, page 36)
used the metaphor of the broken line to represent the breaking of Candide's body, both its physical manifestation and
its social stature. The completely open framework of the
set, void of any right angles, created a sense of constant
threat and instability, with only the subtle suggestion of a central vanishing point of platforming as a possible way out.
Another of our tools, color, can be marvelously suggestive of the senses of taste and smell. In my collaboration with director Mladen Kieslov for Beaumarchais' The
Marriage of Figaro (pictured, page 36), I created the set
out of a mile and a half of dye-painted china and gauze
silk of various colors and patterns, delineating a Rococo
fete gallant garden. Extending out into the house, over
and around the audience, the reams of sensuously col-
ored silks evoked the floating world of physical pleasures
of the demimonde, restlessly moving through layers of a
womb-like cave of sexuality. The softness, and seeming
lack of structure of the silk, of course, played on the
sense of touch, but the color, constantly changing
through shifts of light, rendered the fluid and capricious
emotional world of the characters. By contrast, the costumes were tightly corseted and over-constructed, heightening the atmosphere of thwarted desire. At key moments
of tension in the play, the lighting became harsh, and
ropes in the set previously slack became taught, jerking
us out of the never-never land of floating color, reminding us that emotions are not just ornaments of play, but
have consequences.
Textures, while also accomplishing realistic cues,
always tend to relate to the sense of touch. In designing
Our Country's Good (pictured, page 33), I chose to
place the characters in tents on a sandy terrace, indicative of both the beach and the desert. In a very tight black
box theatre, the sand texture on the platforming always
reminded the audience that the prisoners and soldiers
were stranded in an uncomfortable, alien place, with the
plain, insubstantial canvas of the tents providing no safe
haven. Of course, forbidding textures can also be, as in
this production, a potent symbol of the breakdown of
class and society, where a privileged few are protected
Love's Labor's Lost,
University of Wyoming Department of
Theatre and Dance, 2005.
Photo: Ted Brummond/UW Photo Services
34
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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2005
Contents
Theatre Design & Technology - Fall 2005 - 1
Theatre Design & Technology - Fall 2005 - 2
Theatre Design & Technology - Fall 2005 - 3
Theatre Design & Technology - Fall 2005 - Contents
Theatre Design & Technology - Fall 2005 - 5
Theatre Design & Technology - Fall 2005 - 6
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