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University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016 Saying Yes: Collaboration and Scenography of Man Equals Man deGroot, Anton deGroot, A. (2016). Saying Yes: Collaboration and Scenography of Man Equals Man (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27708 http://hdl.handle.net/11023/3189 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Saying Yes: Collaboration and Scenography of Man Equals Man by Anton deGroot A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DRAMA CALGARY, ALBERTA MAY 2016 © Anton deGroot 2016 Abstract The following artist’s statement discusses the early inspirations, development, execution of, and reflections upon the scenographic treatment of Bertolt Brecht’s Man Equals Man, directed by Tim Sutherland and produced by the University of Calgary in February of 2015. It details the processes of the set, lights, and properties design, with a focus on the director / scenographer relationship, and an examination of the outcomes. ii Preface It is critical that I mention something at the beginning of this artist’s statement to provide some important context for the reader. I tackled the majority of the writing of this piece in September of 2015, some six months after the closing of Man Equals Man. I felt the need for reflection upon the process, and some time away to pursue some remarkable opportunities to grow as a scenographer. However, on July 30th 2015, the director of Man Equals Man, my chief collaborator on the project and dear friend, passed away suddenly and without warning due to a massive stroke. This death was a crippling blow to not only Tim’s friends and family, but to the theatre communities in Victoria and Wells, British Columbia, as well as here in Calgary, specifically at the University of Calgary in the School for Creative and Performing Arts. The effect of this upon me personally cannot be understated. In the weeks between Tim’s death and the completion of this artist’s statement, there were dark moments, some lighter moments, moments filled with tears, and others spent in deep contemplation. At moments, I asked myself the question of whether or not I could complete this writing, both personally and objectively. To put it plainly: was I able to write at length about a process where the key to the entire thing was a relationship with a man who had just passed away. And further to this, could I do this objectively, and be able to examine the work and relationship critically without the worry of speaking ill of the dead. I did come to an answer to this question. Simply: yes I can. I cannot imagine a greater act of injustice to Tim’s memory than to not give the kind of rigor this project deserves. So I have endeavored to ensure that this statement reflects as accurately as possible the process that Tim and I worked so hard at. iii Man Equals Man is – at its core – a reflection upon what it is to be a person, an individual, a man. It takes the measure of a man, in this case the measure of Galy Gay, and finds him lacking; finds him guilty of abandoning himself, albeit through extreme coercion, and points the finger at a broken society that systematically breaks the backs of good men. Tim saw this in the play, loved the commentary, and lived and breathed this message throughout the entire process. And nothing – death or otherwise – can eclipse that for me. In Tim, I saw a reflection of myself; who I could be a few steps into the future. He was everything I strive to be: a true collaborator, a true artist, and a remarkably kind human being. While I would trade anything to have him back in my life, and I know that his death was a senseless, pointless tragedy, Tim’s sensibilities and generosity of spirit will live on in my work for as long as I make plays. What solace this brings to Tim’s friends, family, and even to myself may be so negligible in the face of this loss, but I know deep down that he would be proud. iv Acknowledgements I must acknowledge the remarkable team who rallied to make this production possible, especially given the unexpected circumstances that arose during the production: April Viczko, Don Monty, Skylar Desjardins, Emma Slunt, Tim Sutherland, Muhammad Azri, Michael Sinnott, Brian Kerby, Scott Freeman, Julia Wasilewski, Michael Luong, and Rebecca Flynn. I would also like to thank the following for their support over the past two years: Pamela Halstead, Patrick Du Wors, Patrick Finn, Barry Yzereef, G. Brian Smith, Penelope Farfan, Jacqueline Dyment, Fasyali Fadzly bin Saipul Bahri, Jennifer Arsenault, my friends and family, and especially Laurel Green for her unending support. Finally, I wish to acknowledge my dear friends/mentors Richard McDowell and Michael Green from One Yellow Rabbit Performance Theatre, both of whom died unexpectedly during the process of Man Equals Man. These men have no equals. Their legacy will live on in my work; their thoughts, ideas, aesthetic and freakiness will continue to inspire me. v Dedication This thesis is dedicated to my dear friend and the director of Man Equals Man Tim Sutherland, who died unexpectedly on July 30th, 2015. The work we did together on this production taught me a great deal about myself as a scenographer, and about how to collaborate with a forceful thinker, a remarkable artist, and a generous human being. I owe him a great deal, and I cherish the time we had together. vi Table of Contents Abstract ............................................................................................................................... ii Preface ................................................................................................................................ iii Acknowledgements ..............................................................................................................v Dedication .......................................................................................................................... vi Table of Contents .............................................................................................................. vii List of Tables ..................................................................................................................... ix List of Figures and Illustrations ...........................................................................................x Epigraph ............................................................................................................................ xii CHAPTER 1: STARTING POINTS ...................................................................................1 1.1 Man Equals Man ........................................................................................................1 1.2 On Bertolt Brecht .......................................................................................................2 1.3 Early Discussions .......................................................................................................5 CHAPTER 2: SET DESIGN CONCEPT ............................................................................7 2.1 On Staging Ideas ........................................................................................................7 2.2 Ideas Evolving .........................................................................................................10 2.3 An Organizing Principle Is Revealed ......................................................................14 2.4 Razzle Dazzle ..........................................................................................................16 2.5 Evolution ..................................................................................................................19 2.6 Valleys, Peaks, and Table Surprise ..........................................................................25 CHAPTER 3: LIGHTING DESIGN CONCEPT ..............................................................30 3.1 The Intruder and Jebat .............................................................................................30 3.2 Early Ideas & System ..............................................................................................33 3.3 Colour Selection ......................................................................................................38 3.4 Cueing ......................................................................................................................41 CHAPTER 4: COST & COMPRIMISE ............................................................................43 CHAPTER 5: EXECUTION .............................................................................................51 5.1 Set ............................................................................................................................51 Colour Palette ...........................................................................................................54 And Then I Got Hit By a Car ...................................................................................60
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