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Donaldson-Selby Susan 2012.Pdf (10.22Mb) UNIVERSITY OF KWAZULU-NATAL THE CRAFT OF SCENIC ILLUSION: AN INVESTIGATION INTO HOW THEATRE SPACE AND DRAMATIC GENRE INFLUENCE THE SCENOGRAPHIC PROCESS, WITH SPECIFIC REFERENCE TO GREG KING'S SET DESIGNS FOR ALADDIN (2007), OLEANNA (2008) AND THE WIZARD OF OZ (2008). 2012 SUSAN JEANNETTE DONALDSON-SELBY UNIVERSITY OF KWAZULU-NATAL The Craft of Scenic Illusion: An Investigation into how Theatre Space and Dramatic Genre Influence the Scenographic Process, With Specific Reference to Greg King's Set Designs for Aladdin (2007), Oleanna (2008) and The Wizard Of Oz (2008). By Susan Jeannette Donaldson-Selby 207528918 Submitted in partial fulfilment of the academic requirements for the degree of Masters of Arts (coursework) in Drama and Performance Studies, School of Arts, University of KwaZulu-Natal, Howard College, Durban. Supervisor: Professor Mervyn McMurtry 2012 - i - Declaration I declare that this dissertation is my own work unless specifically referenced within the text. It is being submitted for the Degree of Master of Arts (Coursework) in the School of Arts, University of KwaZulu-Natal, Howard College, Durban 2012. Signed Date 11 February 2013 (Susan Jeannette Donaldson-Selby) - ii - Acknowledgements This dissertation would not have been possible without the support and contribution of many people and I would like to thank: • My family in particular my partner Gillian and my daughter Emily for all their love, support and encouragement. • Professor Mervyn McMurtry (my supervisor) for his support, guidance, advice, assistance and patience. • The staff of the Drama and Performance Studies Department. • Mr. Greg King and Mr. Steven Stead for their co-operation and time. • Ms Val Adamson for the use of her photography. • The staff of the Elizabeth Sneddon Theatre, Playhouse Drama Theatre, and Seabrooke's Theatre for their information and time. - iii - Abstract This dissertation analyses the influence theatre space and the dramatic genre have on the design process, by examining three designs of Greg King: Aladdin (2007), a pantomime presented at the Playhouse Drama Theatre, Oleanna (2008) a drama at the Seabrooke's Theatre, and The Wizard of Oz (2008), a musical presented at the Elizabeth Sneddon Theatre. Through a semiotic analysis of the productions, the scenographic choices of King are interrogated to ascertain the ways theatre space and dramatic genre affected his design choices. The theories around sign systems in the theatre of Keir Elam (1980), Martin Esslin (1987), and Elaine Aston and George Savona (1991) are examined and used to decode King's designs. This dissertation theorises that the theatre space has influenced and continues to influence the decisions and choices of the scenographer, and it is this linkage that informs the discussion around the historical development of the proscenium arch theatre and the scenographer. The case studies offered in this dissertation highlight the challenges involved with the physical limitations of the theatre space, as each venue selected differs in size, shape, and the technical equipment available for the designer. The dramatic text provides the primary basis for both the director and the designer to develop a production concept. However, dramatic texts can be divided into many different genres and the following three genres, namely drama, musical and pantomime, provide the focus for this study. As these three genres have evolved from earlier forms, the historical development of the three genres is examined to ascertain how the genre affects the scenographic process. A theatre production is the result of a collaboration between many specialists and therefore, the relationship between the designer and other member of the production team is examined. A set design is a visual image of an imagined environment and many designers use symbols, consciously or subconsciously, to communicate their ideas. The work of three international designers, Josef Svoboda, Ming Cho Lee and Ralph Koltai is examined further to understand the influence theatre space and the dramatic genre have on the design process. - iv - Table of Contents Title i Declaration ii Acknowledgements iii Abstract iv Table of Contents v List of Figures viii Chapter One - Introduction 1 Chapter - Two Development of Western Theatre 6 2.1 Development of the Open or Thrust Stage 7 2.1.1 Greek and Hellenistic Theatre 7 2.1.2 Roman Theatre 8 2.1.3 Theatre in the Middle Ages 9 2.1.4 Outdoor Elizabethan Theatres 11 2.2 Development of the Proscenium Arch Theatre 13 2.2.1 Scenic Innovators of the Italian Renaissance Theatre 13 2.2.1.1 Sebastiano Serlio 1475 -1554 14 2.2.1.2 Giovan Battista Aleotti 1546 -1636 15 2.2.1.3 Nicola Sabbattini. 1574 c.-1654 16 2.2.1.4 Giacomo Torelli 1608 - 1678 17 2.2.1.5 Additional Scenic Effects 18 2.3 Indoor or Private Theatres in England 20 2.3.1 English Restoration Theatre 21 2.4 Theatre in the Eighteenth Century 24 2.5 Theatre in the Nineteenth Century 25 2.5.1 Changes to the Stage 26 2.5.2 Changes in Scenic Style 27 2.5.2.1 Naturalism 28 2.5.2.2 Realism 28 2.5.2.3 Symbolism 28 - v - 2.5.3 Influence of the Director 29 2.5.4 Changes to the Auditorium 31 2.5.4.1 Wilhelm Richard Wagner 31 2.5.5 Technological Developments in the Nineteenth Century 32 2.6 Twentieth Century Theatre 33 2.6.1 Changes to the Theatre Building 34 2.6.2 Changes to Scenery 38 2.7 Brief Overview of Western Theatre in South Africa 39 2.8 Summary and Conclusions 41 Chapter Three - Development of the Dramatic Genre 46 3.1 Analysis of the Text 47 3.2 Style 48 3.2.1 The Directorial Style and Approach 48 3.2.2 Theatrical Styles 49 3.3 Dramatic Genres 53 3.3.1 Table of Dramatic Genres 54 3.4 Considerations when designing for a Drama 58 3.4.1 Oleanna (1992) 58 3.5 Considerations when designing for a Musical 59 3.5.1 The Wizard of Oz (1939) 59 3.6 Considerations when designing for a Pantomime 60 3.6.1 Aladdin (1788) 60 3.7 Summary and Conclusions 61 Chapter Four - The Design Process 62 4.1 The Relationship between the Designer and the Director 63 4.2 The Designer and Other Members of the Production Team 65 4.2.1 Lighting Designer 65 4.2.2 Costume Designer 65 4.2.3 Stage Management 66 4.3 Analysis of a Set Design 66 4.4 The Design Process 68 - vi - 4.4.1 Types of Stage Settings 70 4.4.2 Elements and Principles of Design 72 4.4.3 Methods of Communicating the Design 74 4.5 Analysis of Three International Designers 75 4.6 Summary and Conclusions 90 Chapter Five - Analysis of Greg King's Designs 91 5.1 Design Process of Greg King 91 5.2 Oleanna (2008) 95 5.3 Aladdin (2007) 98 5.4 The Wizard of Oz (2008) 106 5.5 Summary and Conclusions 113 Chapter Six - Summary and Conclusions 115 Primary Sources 119 Secondary Sources 120 Personal Communications 129 Appendix A - Comparison table of the three venues 130 Appendix B - Personal interview with Greg King 132 Appendix C - Personal interview with Steven Stead 140 Appendix D - List of KickstArt Awards 145 Appendix E - Ethical Clearance Letters 151 - vii - List of Tables and Figures Chapter Two 2.1. A Greek Theatre showing the skene, orchestra and auditorium 8 2.2. Roman Theatre showing the scaenae frons 9 2.3. Medieval pageant wagons 10 2.4. Diagram of Elizabethan Theatre 12 2.5. Serlio's designs based on Vitruvius 14 2.6. Diagram of Serlio's theatre 15 2.7. Teatro Farnese showing the proscenium arch designed by Aleotti 16 2.8. Sabbattini's proposed methods for changing scenery 17 2.9. Torelli's chariot and pole system 18 2.10. Scenic Design by Torelli 19 2.11. Theatrical Design by Giuseppe da Bibiena 20 2.12. Second Blackfriars Theatre (1597) (reconstruction) 21 2.13. Inigo Jones, pastoral scene for Florimène 22 2.14. Drury Lane (1674) 23 2.15. De Loutherbourg, A Christmas Tale 24 2.16. Design for A Midsummer Night's Dream 25 2.17. Stage detail of the Theatre Royal, Plymouth, (1811) 26 2.18. Early box set by Vestris 27 2.19. Adolphe Appia design Das Rheingold (1892) 29 2.20. Edward Gordon Craig's design for Hamlet (1910) 30 2.21. Ground plan for Bayreuth Festival Theatre 31 2.22. Auditorium and stage of Bayreuth Festival Theatre 32 2.23. Gropius's suggested layout for the 'Total Theatre' 35 2.24. Designs for Terence Gray Cambridge Festival Theatre 36 2.25. A sketch of the setting for Kordian (1962) for Grotowski 37 2.26. New Globe Theatre 38 2.27. The African Theatre 40 2.28. Drama Theatre, Playhouse 41 2.29. Side Elevation of Seabrooke's Theatre 41 - viii - 2.30. Sketch Ground Plan for Seabrooke's Theatre 42 2.31. Ground Plan of Elizabeth Sneddon Theatre 42 2.32. Ground Plan of Playhouse Drama Theatre 43 Chapter Three 3.1. Simplified Realism for Eugene O'Neill Long Day's Journey into Night (1971), Set design Elmon Webb and Virginia Dancy 50 3.2. Fragmented Realism for Beethoven (playwright and date unknown), Set design Ariel Balif 51 3.3. Theatricalism design for Barthe Halle's musical version of Aristophanes' Lysistrata (1951), Set design Kaare Hegle 51 3.4. Expressionistic design for Tchaikovsky's ballet Hamlet (1942), Set design Leslie Hurry 52 3.5. Formalistic design for Shakespeare's Antony and Cleopatra (1963), Set design Ming Cho Lee 53 3.6. Table of Dramatic Genres 54 Chapter Four 4.1.
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