Digital Journal

Charlie Baum
Summaries!!
Color and Composition
One of the first things that Pamela Howard touches on in chapter four is the idea of turning a two dimensional idea in a three dimensional
one. Howard states the differences between two and three dimensional scenes while describing how important it is to use and apply both. Howard
explains how two dimensional pictures are stationary and the audience is moving, but in theatre and three dimensional pictures the audience is
stationary and the picture is moving. The audiences view is different for every individual present which is something that I have not considered
before. She compares musical notes a composer puts together, to the colors a scenographer depicts on stage. This puts into perspective the type of
freedom that a scenographer really has which is something that I have also not considered until recently. Perspective plays a big role in the way a
scenographer depicts their scenes. The way that lights are positioned and moved can change the colors and how the audience sees them. The
smallest details are important to every scene because that is what makes it truly great. Despite the fact that every person in the audience might not
be able to see the intimate surface of a wall in the background, those tiny details are still vital to the scene. Howard continued to emphasize the
importance of color for a scene. Colors change how the audience feels about a certain scene as well. The color is the very first thing the audience
sees over the shape and form. The stories that Howard describes go to show how a scene can happen anywhere and anytime. A scene is set based
on an audience and performers and not necessarily always meant to be made specifically by someone. Scenographers should always be aware of
the space that they are working in. Post-war poets caused major changes in art which is now known as poetic realism. It was more contemporary art,
leading to scenes with more details and modern scenography. Howard then discusses the importance of everyday practice. The more a
scenographer takes time to look at a space or takes time to play with the colors of a scene, the better it will be. Careful consideration of every piece
of the puzzle will lead to finishing a perfect picture. She then touches on some historical aspects of theatre, explaining that in ancient times an
audience was sat by class and age. I took a lot of this particular section because before coming into the class, the audience was at the bottom of my
list of problems, when they are the people critiquing it. To focus the attention of a scene on one character, using lights etc. and then considering what
the audience would see in that particular moment will be different from scene to scene. The background moves the same, if not more than the
characters do. The way that Pamela uses her real life experiences, like the Taiwanese Ghost Festival, inspires me even more. I never imagined a
real life event as a scene with a background before.
Space and Design
Within the scenographic world, space is an important piece of the framework. Howard emphasizes the recognition of the geometry and
where the power behind the space lies. A space can hold so much detail that the audience can interpret a past, present and future. The audience is
also an important piece of scenography. The scenographer should be aware of how every position in the audience sees and feels the scene. When a
space is emphasized with lights and given some more personality than just a setting, they are all focused on the central position of the stage. The
physical structure of the theater is vital, so consider how the audience is placed and what points are most important. A stage is not always a theatre,
sometimes a scene is set right outside the door of the theatre. Urban scenography goes to show how all one really need in order for there to be a
scene is actors and an audience. The city streets of urban scenography mean more than just street art on a brick wall. A lot of times the background
is completely applicable to the type of play that is being performed. Howard mentions a storyteller in Barcelona and a boy in Belgrade, who each had
their own ideas of the space in a theatre. One idea being round and the other focusing on the vertical’s of the space. As a scenographer, walking
around and actually getting a feel for the space helps to decide where the key points on stage are. Howard also touches on the type of space that is
used. There doesn’t always have to be thirty props and a moving background in order to have a good scene. Imagination and plotting go into how a
scene is established because of the style and shape of it, in order to achieve a scene that vibes with it’s theatre. The objects within a space are
strategically plotted. Objects bring three dimensional life to a scene. Things like object and background materials are perfect for reuse. The most
interesting part about the history of space in the theatre is that all Howard’s points helped to show how the physical style of the theatre can change
the feeling of a scene completely. Howard rounds up the chapter with a few personal encounters with space. In her first one she discusses the
challenges she faced in Northern Greece. Howard chose which theater the play should take place in, in almost every story.Theater settings are very
flexible apparently. Regarding her process of planning how to use this space, it really hit all the pegs of the chapter: think about the scene itself, the
space itself and how the audience will see it. Howard plotted out her scenes before even seeing the spaces because it wasn’t about just the scene,
but the space inside the theatre and the space on the stage.
Playscript Analysis
It’s ironic that sat down to read this chapter right in front of a TV and one of the first things Rosemary Ingham mentions is that times have changed
and readers have become few and far between. Reading plays is much different than reading a book because as you take it scene by scene, certain
details become more important than they initially seemed. To have an accurate theater design, it takes multiple reading sessions and that is why
Ingham discusses how exactly to read a play in so many words. Attention to feelings after reading a play influences an even more accurate set
design, because the specific feelings that each scene diffuses can effectively create an entire scene themselves. Reading a play is like reading the
bare bones and we are left to give those bones flesh and blood. In Tony Kushner’s Angels in America, a costume designer took “thing oriented”
notes that were specific to each character to get the jist of their personalities with the way that they spoke and the things that affect them. Thing
oriented notes are effective for scene designers as well because then there are unbiased facts ready to be seen rather than just the designer’s
personal feelings. Where a novelist can describe a scene in extreme detail, a scenographer has to be aware of the restrictions that a theatre setting
has. There is not room for a ton of details but to walk the line between just enough and too many is where a great scenographer is found. Ingham
breaks down how characters speak the scene into the sceneographers mind with their words and actions. Paying attention to what the describe and
how they are feeling with their descriptions is ideal for a good set. Ingham asks three major questions: where, when and who are they, what
happened before the play began, what is the function of each character, what kind of dialogue do they use, what happens in the play and what is the
play’s theme?
Specifically, breaking down the characters is important. Many characters are multi-layered and one should get that affect through the scene.
This will also give an idea of what happened before the play and reasons for certain dialogue. A character’s function will give their own individual
background that can subtly describe a certain scene. Knowing their role as a protagonist or antagonist is helpful as well because maybe their
character gives off a certain mood which can completely change a background. Knowing what exactly happens in the play is obviously important to
the scene. Ingham shows us something called a “play chart” and this would help a scenographer to get their thoughts in order to have a scene that
can check every box that needs to be checked to fulfill an entire scene. The overall theme of a play sets the mood as well. In Romeo and Juliet there
is obvious love, longing and hatred between the two sides that can be portrayed through scenery. WIth all these specific attributions of breaking
down a play, then and only then will one be successful in creating accurate scenery.
TEXT
Using scenography to enhance the audience’s experience will help them to better understand the play. The whole play should
blend together as one great piece rather than individual work efforts. Reading through the whole text and observing the mood
and feelings will overall help create a scene that the actors can use to their advantage. Howard reiterates the same ideas as
Ingham. She tells the reader to re-read the script multiple times to get a chance to bring the play to life. Howard uses different
metaphors as to why scenographers must read time and time again, but overall says the same things as Ingham. She gives
steps beginning with understanding of the play. Like Ingham, Howard touches on the idea of getting a comfortable reading area
and focusing in on what exactly you are reading. Howard’s next step is to visualize the drama. She tells the reader to make
charts to get their thoughts in order about characters, scenes and to even draw out a map of the play in general. The next move
is the character chart. This chart consists of the scenes that each character is in. Scenes go across the top and characters go
down the side. Getting your head in order in this context will help to get the mood of each scene. Judging by how each of the
characters are portrayed will drastically change the overall feeling of a play. Howard’s last tip is to feel completely free of
restraints. Make the play your own, through the interpretation that you get from your research. Howard goes on to describe a
play done by Pablo Picasso, who made a play with little to no specific context. Character analysis was vital in this case because
nobody literally said things like “There was a chair in the corner”. Character analysis is vital especially in cases of vague visual
productions. Sometimes a vague scene leaves room for the imagination to expand which is applicable in some forms of theatre.
Much like the Pablo Picasso situation, a scene with little displayed tells a much bigger story than one filled with visual
representations.
Direction
Pamela Howard begins the chapter by explaining that a scenographer should have already prepared themselves for the
challenges that lie ahead. Like discussed in Playscript Analysis, the scenographer should have the background on the play and
contexts correlating to the play. After that, the scenographer and director get the chance to corroborate their ideas. Artists need
to give each other their own room for expression. When two people come together to create a theatrical masterpiece, it is
important to make sure both get the respect they deserve. Howard defines direction as, “the vision that everyone involved in
creating the production has agreed to work towards”. A space and its direction should help emphasize important moments in
the plot as well as the characters and the words they speak. Howard touches on the idea that everyone puts in their two cents.
Everyone involved in the play has something to do with what happens to the background. Every factor considered, almost
everyone has an affect on how the scene looks and is portrayed. More than anything, Pamela discusses the collaboration
between the director and scenographer.
While the scenographer and director both put their ideas into a performance, their roles are also interchangeable. The
scenographer can become the “director” if necessary. This means that both have to be prepared and open minded when facing
another person’s preferences and ideas. I can’t imagine the type of disputes that being a director can cause. The drama doesn’t
end off stage, apparently. This chapter feels like a warning, to prepare soon to be directors and scenographers for their job.
Howard kindly asks everyone to be open to pertinent ideas because having that collaboration is important to making a piece
that everyone will like. When a person refuses to get more than their own perspective, it can hurt their true meaning because
not everyone may enjoy that person’s point of view. It’s a good idea to bring ideas to friends and coworkers in order to get an
idea of what everyone is thinking.
Performers
Pamela Howard begins the chapter, “Performers,” by emphasizing the importance of research. I really enjoy reading plays so I can’t imagine
that many scenographers have trouble with this aspect. I bring this up because it seems like Howard, in past chapters, really wants people to
pay attention and do their research. In the beginning stages, Howard suggests attending the character rehearsals will contribute to forming a
costume. Getting an idea of how the performers portray certain characters will be important to creating an environment to act in. When
discussing scenographic ideas with characters, remember that usually their ideas will be in forms of expression. Their language about a set
design will tell you all you need to know. Look at the play from an observer's point of view. In order to create an accurate depiction of what
the author is trying to portray, we have to consider it as an actual event in real life. What would it sound like or feel like? Consider aspects of
the play like where the characters will be positioned on stage and the kinds of movement and motions they are making.
I did not realize that scenographer actually get to contribute to the costumes. I suppose it makes sense because the actors are apart
of the background. The actors also need time to work with their costumes. If their costume is heavy or a little funky, it is important to fully
rehearse in their costumes. This way, actors are completely comfortable with their roles. Scenographers should also pay attention to how
actors talk about themselves. A person needs to wear their costume in the same way that a costume wears that person. It should not be a
harsh transition from person to costume; the costume should be literally and psychologically made for that person. Lee Byong-Boc, a Korean
scenographer, described theater, as “dramatic images and stories that fill the vacuity of an empty space with the presence of the costumed
actor,” (168). A stage is just an empty space with people, props, background and lighting. It’s amazing what some scenographers can do with
an empty space. Plotting the background also means including 3D people and other ideas. Textures are vital to a costumes. A scenographer
named Roque, refers to three important elements to consider with performers: colors, textures and shapes, the response of the interpretive
team to the challenge and risk. Recognize these challenges and rise to the occasion.
Projects
Color Emotions Collage
Process: My emotion was sad and I used Moly Bang’s 10 principles to get
my project started. They gave me an idea of how to go about constructing an
emotion with shapes and colors. I used the exacto knife and pastels to cut and
color my shapes. I tried to be adventurous with some of the colors. Rather
than just using blue, I went with some purples and greens to make it seem
deeper than just sad. All blues would’ve been easy, but I wanted to mix up the
colors to show that even though the emotion was sad other emotions come
with sadness as well.
Color Emotions Collage
Research: Using Moly Bangs 10 principles, I was able to portray my
emotion much more effectively. Principles five, six, seven and nine were most
helpful. I used the center of the page to incorporate my negative space. Black
construction paper was my background because it gives off an uneasy vibe,
like sadness. All my shapes were sharp, because they supposedly make
people uncomfortable. My shapes were blue because sadness is associated
with clue, melancholy colors.
Color Emotions Collage:
What I learned: This project helped me learn how to portray specific
vibes and moods with colors and shapes. Rather than obvious shapes and
colors, I was able to use non-geometrical shapes to describe a feeling. It will
be helpful with stage design so that we can portray the mood of a scene
through the background. It will be helpful for the audience to realize the true
meaning of a scene if we can nail the mood of it, through the background.
Color Emotions Collage
Final Results: This project was really fun and helped me get a grasp on
how to portray emotions discreetly. Howard and Ingham both think that color
and use of space are vital to the scene. I love to have this kind of artistic
freedom!
Hamlet
Mood Board:

Witty colors to
emphasize comedic
twist with dark sides so
that it is also true to the
play.
Hamlet
Concept:
My version of Hamlet is still set in Elsinore, Denmark around the 14th century. Iit is winter because the events
that occur are cold. The audience learns that Hamlet’s Father was killed (prior to the start of the play) by Claudius.
Claudius is the brother of Hamlet’s Father, who end up marrying Gertrude. Gertrude is Hamlet’s mother. All this
drama would be lightened by the comedic characters. Hamlet is around 30 years old but acts much younger in his
reaction to his father’s death which is consistent with Adam Sandler. This major outrageous reaction is apart of the
theme of insanity. There are several characters with outrageous reactions in this play which is why my version is a
farce.
Hamlet
Character/Scene
Hamlet
Cast:

https://docs.google.com/document/d/1pMN7z18D46sPvj7xb6vQnArmo4zTdvS_th8egwrZHG8/edit
Scale Theater
Process: We constructed a scale model of a proscenium theater. We used a ¼
inch scale per foot. Using our special rulers, we were able to make a scaled
theater that was about 34 ¼ inches in length and up to about 14 ¼ inches
wide. It was complicated to get the actual arch of the theater perfectly
measured. Other than that, this was a fun project.
Scale Theater
What I learned: I learned that is important to match the scale perfectly or that
will throw off all the ideas that you have for the scene. Be sure to add people
who are the correct size as well or the scale won’t make sense. I learned how
to correctly use a ruler and that it is a lot simpler than people make it seem.
Scale Theater
Hamletmachine Mood Board
Hamletmachine Research
Hamletmachine is a spin off of Hamlet that deal with a few real-life controversies. It was
written in the postmodernist era. Heiner Muller lived through Communist Germany. He
wrote Hamletmachine without a real plot line but used scenes from Hamlet help portray
his thoughts. It was written extremely dense and almost hard to
understand. The first performance was done in France
in 1979. Over time, the play has developed into many
different interpretations. When Muller made it, I think he
left it open ended in a way to specifically cause countless
interpretations of it.
Post Modernism developed, following modernism.
Participants had a general suspicion of reason. They
basically were questioning social norms and
ideologies. Modernism brought intellectual
assumptions that we questioned by post modern
ideas.
Hamletmachine Character Breakdown
https://docs.google.com/spreadsheets/d/12PGG7wsqgtV0E6bCh337aKW503hoes0vh-kC4-d701w/edit#gid=0
Elizabeth Haffenden
Ben Hur (1959)
A Man For All Seasons (1966)
Edward Fox
and the Day of
the Jackal
(1972)
HAMLETMACHINE GROUP PROJECT
Costume Design
Costume Mood Board
Research
Hamletmachine is a spin off of Hamlet that deal with a few real-life controversies. It was
written in the postmodernist era. Heiner Muller lived through Communist Germany. Muller
wrote Hamletmachine in 1977. He wrote Hamletmachine without a real plot line but used
scenes from Hamlet help portray his thoughts. The play incorporates feminist ideas portrayed
through Ophelia and her self growth. Muller wrote the play so that there could be many
different forms of interpretations, that’s why it is so vague.
Our version of the play is set during the Danish Revolution in 1848. Hamlet has a
coming-to experience in scene 4 and Ophelia has a similar experience in scene 2. Both
characters will have costume changes that relate to their coming-to experience.
The idea of dressing in drag began when women were not allowed to participate in
theater, so men had to dress like women in order to play certain characters. Men
dressing as women is thought to have began in Shakespearean times. Julian Eltinge
was one of the first men ever to dress in drag outside of the theater. 1848 style is
frilly and has a lot of lace. It has more like fluffy undergarments with big skirts.
Color themes in 1848 are more neutral tones but we are using vibrant colors with
neutral tones to support the ideas in Hamletmachine and the transformation that
both of our characters go through.
Character Scene Breakdown
https://docs.google.com/spreadsheets/d/12PGG7wsqgtV0E6bCh337aKW503hoes0vh-kC4-d701w/edit#gid=0
Character Ophelia Hamlet

Age 23 30

Sex Female Questioning

Personality Traits Empowered, Willful, Sure Unsure, Questioning Self,

Headstrong

Profession Waitress/Server Drag Show Performer

Geographic Denmark Denmark

Areas

Social Status Democratic, Middle Class Democratic, Very Upper class

Psychological Suppressed feelings of hatred Confused about self

Traits towards patriarchy.

Wardrobe Scoop neck long sleeve top, corset, long Long sleeve green button up with poofy
poofy dress, short ankle heel boots. tupe collar, brown knee dark leggings, tall leather
neck slip dress pink tint, silky material boots. Scoop neck bright purple dress with
with lace accents. wire skirt and lace underneath
Makeup

Hamlet Ophelia
Costume Thumbnails
Costumes

Hamlet Ophelia
Final Mood Board
Final Research
● My Final project will be the “B” project. I plan on using a sheep counting dream idea. Using my
main object as a drop in background to create a cloudy effect.
● I want to use blue and purple lighting to create a dream effect on the background and have
strategically placed details to make a grassy field scene. My Cyc will be a deep color, I can’t
decide between purple or blue.
● I imagine the center seats in my audience would get the best effect of the background because
of the various hanging background pieces. I want them to add depth like in this scene on the
bottom right.
● Most of the background would drop down into a dead hang. The bed will also be apart of the
background.
● Lighting will be important
● Modern bed have thing, clean frames
Scene
- Blue Curtain
- Small, regular bed (moveable)
- Light bulb
- Sky curtain (blue)
- Cyc, Black
- Bed, disproportionate
- Hanging moon
- Side curtains, pink
Final Synopsis
My room will initially begin as a basic room with a minimal, blue background. The mood of this scene is dark,
gloomy and alone. The one light in the middle of the room is to signify loneliness for the main character, which is me.
My second character is the sheep that I imagined. It’s like, I am counting sheep, trying to sleep and then suddenly, the
blue curtain lifts and there is a whole scene that plays into my conceptual life. There is a whole world out there,
imagine how lonely and sad the moon is. Nobody up there to keep it company. My major theme is the sadness that
comes with being lonely but then finding a way out of that sad state.

I wanted my headboard sideways so that it could play into my background and overall scene. The first bed
should be light and easy to push off. The scene change will begin with me turning off the light to go to bed and then
helpers will push the first bed off and the blue curtain will go up. The second, bigger bed is also supposed to
emphasize loneliness because there is nobody to share it with. My character is supposed to come to a realization at
some point and decide that loneliness is a social construct that does not define her. The sheep signifies her
unwillingness to get out there and make friends. She’s a follower, AKA sheep. She eventually befriends the sheep and
accepts her introvert attitude. She becomes content with her sad and lonely life experience. There is a glimmer of
hope within her friendship with the sheep and that is a really important concept to the “sadness” theme. The easiest
way to find yourself is through personal (lonely) discovery. Being okay with being alone is an important aspect of life.
She also realizes that she is really nothing like the sheep, she just imagined it up because that’s what she thinks of
herself.
Final: What I learned
I learned so much throughout this course. Before this class, I had never
thought about the kind of work that goes into the making of a great play or
movie. Now I know everything from lights, to stage, to costumes. A lot of
important aspects go into the making of the lights, stages and costumes.
Stages require a lot of research on characters and basic themes of the play.
Technically all aspects of stage design need deep research so that the creator
can make a justified scene.
Process
Process