Scenic Design for Anton Chekhov's Three Sisters
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Graduate Theses, Dissertations, and Problem Reports 2018 Scenic Design for Anton Chekhov's Three Sisters James Vincent Raymond Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Raymond, James Vincent, "Scenic Design for Anton Chekhov's Three Sisters" (2018). Graduate Theses, Dissertations, and Problem Reports. 6486. https://researchrepository.wvu.edu/etd/6486 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. i Scenic Design for Anton Chekhov's Three Sisters James Vincent Raymond Thesis submitted to The College of Creative Arts At West Virginia University In partial fulfillment of the requirements for the degree of Master of Fine Arts in Scenic Design & Technology Robert Klingelhoefer, Chair Jerry McGonigle, MFA Tiffany Delligatti, MFA Steven Neuenschwander, MFA School of Theatre & Dance Morgantown, West Virginia 2018 Keywords: theatre, scenic design, Three Sisters Copyright 2018 James Vincent Raymond ii ABSTRACT Scenic Design for Anton Chekhov's Three Sisters James Vincent Raymond This thesis document is a written account of my scenic design process. The initial discussions with the director led to the finished set onstage for a production of Three Sisters by Anton Chekhov. The play was produced by West Virginia University’s School of Theatre & Dance, presented in the Gladys G. Davis Theater at the Creative Arts Center in Morgantown, WV. The production dates ran from November 16th-30th and December 1st - 2nd, 2017. This document comprises the scenic design appointment through my analysis of the script, the design process, the execution of the design, and finally my analysis of the assignment. iii ACKNOWLEDGEMENTS My Parents- Thank you for your tireless care and faith in me. I could not have gotten this far without your support and love. Thank you so much for consistently coming to see my work and travel long distances to make this happen. Professor Robert Klingelhoefer of WVU- I seriously do not know how I would have gotten through grad school without your guidance and your passion for design. I am extremely grateful to have had you as a mentor and hope we can continue that friendship down the road. The faculty and staff of West Virginia University- Thank you for tirelessly believing in me and really helping me become successful in my chosen field of endeavor. Darnell Patrick Morris & Ovations Theatre- You have honestly been a huge inspiration to me. For always believing in me and pushing me to not only be the best I can be in my field, but to continue to stand up for equality and human rights, while getting the youth involved. Professor Will Neuert of DSU- I have learned so many awesome tricks and theatre magic under your guidance. Thank you so much for believing in me and guiding me through my undergraduate college career. I hope we continue to flourish that friendship as well. The faculty and staff of DeSales University- Thank you for the amazing support and care that is apparent in your mission, “Be who you are and be it well.” Laurel Mill Playhouse- Thank you for helping me discover my true passions and letting me grow as an artist and as a person. I feel extremely lucky to have been so much involved in your theatre. iv DEDICATION For my family & friends, Dennis Paul Stull, Josie and Mr. P v TABLE OF CONTENTS Title Page…………………………………………………………………………………………i Abstract…………………………………………………………………………………...………ii Acknowledgements……………………………..………………………………………………iii Dedication…………………………………………...…………….…………………………….iv Table of Contents………………………………………………….…………………………….v Table of Figures…………………………………………………………………………………vi Section I: Introduction…………………………………………………………………..………1 Chapter 1: My Experiential Path……………………………………………………….3 Chapter 2: Three Sisters: A Brief Background.......................................................6 Section II: The Design Process Chapter 3: First Initial Discussion with the Director………………………………….9 Chapter 4: Developing A Designable Idea.......................................................... 16 Chapter 5: Developing The Design………………………………………………….20 Chapter 6: Final Design……………………………………………………………….24 Section III: Design Implementation Chapter 7: Designs Due & Budgeting…………………………………………………….....30 Chapter 8: Rehearsal Hall…………………………………………………………………….35 Chapter 9: The Scene Shop & Paint Shop………………………………………………….37 Chapter 10: Load-In…………………………………………………………………………...45 Chapter 11: Tech……………………………………………………………………………....56 Section IV: Reflection Chapter 12: Looking Back…………………………………….………………………62 APPENDIX A: PHOTOSHOP RENDERINGS……………………………………………...65 APPENDIX B: DRAFTING PLATES…………………………………………………….…..69 APPENDIX C: PRODUCTION IMAGES…………………………………………………….82 ILLUSTRATION CREDITS………………………………………………………….……….98 WORKS CITED……………………………………………………………………………....100 vi TABLE OF FIGURES Figure 1.1 A Young James……………………………....…………………………..………..3 Figure 1.2 DeSales Graduation……………………………….……………………………....4 Figure 1.3 DeSales Univ. Scenic Design of I Love A Piano…………………………….…4 Figure 2.1 First Cover Edition, Published 1901, by Adolf Marks…………………………..6 Figure 3.1 Russian Architecture…………………………………….………………………...9 Figure 3.2 The Lilac (Mauve) Study…………………………………………………………11 Figure 3.3 Cottage in Khotkovo……………………………………………………………...12 Figure 3.4 A Forest of White Birch Trees…………………………………………………..13 Figure 3.5 Architectural Detail……………………………………………………………….14 Figure 4.1 Preliminary Groundplan of Act I………………………………………………...17 Figure 4.2 Preliminary Groundplan of Act II………………………………………………..17 Figure 4.3 Preliminary Groundplan of Act III……………………………………………….18 Figure 4.4 Preliminary Groundplan of Act IV …………….…………………………….…18 Figure 4.5 Birch BWS, by Tina Sheppard…………………………………………….…….18 Figure 5.1 My First Rough Sketch of Acts I & II…………………………………………...21 Figure 5.2 My First Rough Sketch of Act III………………………………………………..22 Figure 5.3 My First Rough Sketch of Act IV………………………………………………..22 Figure 5.4 Rehearsal Model Mockup…………………………………………………..…...23 Figure 6.1 My First Rough SketchUp of Act I………………………………………………24 Figure 6.2 Final Photoshop Rendering of Act I ……………………………………………25 Figure 6.3 Final Photoshop Rendering of Act II………………………………………..….25 Figure 6.4 Final Photoshop Rendering of Act III…………………………………………..26 vii Figure 6.5 Final Photoshop Rendering of Act IV…………………………………………..27 Figure 7.1 Attaching Green Foam to 2x2 Box Steel………………………………………32 Figure 7.2 Carving the Foam to Become Birch Trees……………………………….……33 Figure 7.3 Final Paint Treatment on Foam Birch Trees…………………………………..34 Figure 7.4 Final Paint Treatment………....………..………………………………………..34 Figure 7.5 Final Paint Treatment for Branches………………………..…………………..34 Figure 9.1 Based Black Homasote Bricks with Textured Applied on Top………………37 Figure 9.2 Lay out of Brick Pattern on Drop……………....…………………………...…..38 Figure 9.3 Laying out Homasote Bricks on Drop………………………………………….39 Figure 9.4 Applying Texture on Drop……………………………………………………….40 Figure 9.5 Final Paint Application………………………...…………………………….......40 Figure 9.6 Paint Elevation of Stage Deck………………………………….……………….41 Figure 9.7 Floor Layout Based………………………………………….…………………...41 Figure 9.8 First Layer of Base Paint for Wood Planks………………………….…………42 Figure 9.9 Multiple Sections Painted on Deck……………………………………………..43 Figure 9.10 Final Paint Treatment…………………………………………………………..44 Figure 9.11 Overall Look……………………………………………………………………..44 Figure 10.1 Backdrop and Side Tracking Brick Flats……………………………………..45 Figure 10.2 Steel Construction of Bridge……………………………………………...…...46 Figure 10.3 Foam Dressed on Top of Steel………………………………………………..47 Figure 10.4 Texture and Paint Treatment on Steel Railings……………………………..48 Figure 10.5 Beginning Process of Sonotube Tree Stumps…………….…………………48 Figure 10.6 Final Look of Tree Stumps…………………………..………………………...49 viii Figure 10.7 Bridge Dressed with Foliage…………………………………………………..49 Figure 10.8 Paint Elevation of Porch………………………………………………………..50 Figure 10.9 Beginning Construction of Porch Platform…………………………………...50 Figure 10.10 Porch Platform Assembled…………………………………………………...51 Figure 10.11 Paint Process of Porch Platform……………………………………..………51 Figure 10.12 Photoshop Rendering of Picture Frame Walls……………………………..53 Figure 10.13 Paint Elevation of Windows & Shutters…………………………………..…53 Figure 10.14 Construction of Windows and Picture Frames Applied……………………54 Figure 10.15 Window Frame Paint Treatment…………………………………………..…55 Figure 10.16 Backstage View of Picture Frames………………………………………….56 Figure 11.1 Company Members Working Through a Tech……………………….………56 Figure 11.2 Main Picture Frame……………………………………………………..……...57 Figure 11.3 Paint Elevation of Act IV Exterior Window……………………………………58 Figure 11.4 Act IV Exterior Window…………………………………………………………58 Figure 11.5 The New Credenza Built out of Scrap……………………………..…………59 Figure 11.6 Final Look of Porch Post……………………………………………………….60 1 SECTION I: INTRODUCTION In the spring of 2017, Professor Robert Klingelhoefer, Associate Professor of Scenic