My metals arrived in the post today and therefore I have had a very productive day. I had a tutorial with my lead tutor this morning, and got approval for my line of enquiry which was a relief. I also got some helpful suggestions of venue choices etc. I then went to the workshop to cut the metal and drill holes in the side so that I could easily mount the samples in my sketchbook- it didn't take too long, and I'm sure that the practical advantages of this process will be worthwhile.
OTHER PROJECTS
I also had to take some time out today to dedicate to some side projects. Firstly, I had to lead a one-off sketchbook session with the second-years, having been asked by one of my tutors to pass on some advice and give some examples of how to use a sketchbook successfully. And secondly, I had to have a meeting about another little project that I've agreed to be involved in on the side, for no otehr reason than that I am passionate about the event. For the next few weeks I will have to take a little bit of time-out from Salome occasionally, in order to source the costumes for a theatre/cinema event on Valentines Day, where the film The Artist will be shown, alongside various performers dressed in 20s gear. I have a passion for the 20s, and a passion for the event, as I really enjoyed working on it last year when they showed 'A Brief Encounter', I was so happy to see it running again that I immediately jumped on board- although it is now much more work than I was initially anticipating, and I hope it doesn't get too much in the way of my current project.
So in the afternoon I had a meeting about The Artist project. More to come on that later I'm sure.
BACK TO THE METALS
Over the past few days since my last post, I have been thinking about ways to experiment with aging my metals. I found this amazing website which shows you formulas for how to get millions of different effects using different chemicals on different metals, but it all sounded rather dangerous and I had no idea of where to get most of the chemicals from:
http://www.sciencecompany.com/patina-formulas-for-brass-bronze-and-copper-W160.aspx#32
However, I did find quite a few 'DIY' solutions that suggested some variation of an Ammonia solution. I didn't think that Ammonia would be too difficult to get my hands on, given that it's a standard, perhaps slightly old fashioned, cleaning product. But after a lot of searching, I began to get a little suspcious as to why I couldn't find any ANYWHERE. Turns out, it's now widespread knowledge that one can easily make homemade bombs using ammonia..... so it's tricky to buy an appropriate quantity online and no supermarkets stock it anymore.
For the last few days I have been really trying my hardest to get advice from EVERYONE as to where to purchase ammonia but to no avail.
My idea for the metals is as follows:
cut each sample in half (done).
Allow one piece of metal out of each pair to age without any interference.
Make one piece of metal out of each pair age in a pattern.
What I thought I could do was chose some patterns from my moodboard, create a sort of threshold stencil out of them on Photoshop, print the stencils onto sticky-label printer paper, cut out the stencil, peel off the backing, and then stick the stencil to a metal sample. I am hoping that this will cause the metal to only age in the places that are exposed, although I'm a bit worried about the fact that the sticker stencils will be paper rather than vinyl, I'm hoping the ammonia won't seep through.
Thursday, 31 January 2013
Monday, 28 January 2013
Metal-work
I have been thinking a lot about using metal in my costume designs- something with a golden hue- like copper, or bronze. I think I'm am drawn to it so much because it is a timeless fabric. When the court of Tetrarch Herod Antipas is described by Salome in the play, everything is conveyed as a ridiculous status-induced indulgence in opulent frivolity. The mention of the white peacocks, with the gilded beaks and the descriptions of all the banqueters decked-out in ludicrous amounts of finery and jewels and gold. It seems to me that the design of the play should reflect this sense of self-satisfied indulgence in showing-off finery, but only as a facade, the design of the play should make it all too clear that beneath the surface of gold is a corrupt and bloodthirsty high-society, a man who is hinted to have killed his brother to marry his sister-in-law, a man who has stolen a sacred veil, a man who has an unhealthy infatuation with his own niece, a man who keeps 'the man touched by god' prisoner as he is scared of his power, a man who is ruler and leader of this land.
I thought that one interesting way of conveying this disjointed undercurrent of the world of the play, would be to experiment with aging metals- the green oxidization growing on the gold of the metal like a spreading disease, much like the corruption within the high-society.
Interestingly, in Oscar Wilde's original stage notes, his suggestion for the set is to have the cistern 'surrounded by a wall of green bronze'. Although I have no evidence to back-up my assumption, I wonder if Wilde's decision to specify the use of this aging metal was meant as an extended metaphor for the whole situation of the play; with King Herod's richness, status, and empire being embodied in the bronze, a substance whose validity and appeal has been corrupted by something so beautiful as the turquoise oxidization of stunning Salome, an irreversible effect that will leave Herod's golden reputation ever tarnished, if not in the eyes of society, then in the eyes of God.
Previously struggling with a starting point, I felt my next step should perhaps be to experiment with the visual qualities of aging some metals, and as I result I have just ordered 3 small squares of metal online: 1 brass, 1 copper, 1 bronze. I am currently trawling the web for various ways of speeding up the aging process for each. I thought that something a basic as vinegar might do the trick, but apparently not. Every website suggests that I need complicated chemicals, that I think I would have a really tough time getting my hands on. But I will keep on looking.
I thought that one interesting way of conveying this disjointed undercurrent of the world of the play, would be to experiment with aging metals- the green oxidization growing on the gold of the metal like a spreading disease, much like the corruption within the high-society.
Interestingly, in Oscar Wilde's original stage notes, his suggestion for the set is to have the cistern 'surrounded by a wall of green bronze'. Although I have no evidence to back-up my assumption, I wonder if Wilde's decision to specify the use of this aging metal was meant as an extended metaphor for the whole situation of the play; with King Herod's richness, status, and empire being embodied in the bronze, a substance whose validity and appeal has been corrupted by something so beautiful as the turquoise oxidization of stunning Salome, an irreversible effect that will leave Herod's golden reputation ever tarnished, if not in the eyes of society, then in the eyes of God.
Previously struggling with a starting point, I felt my next step should perhaps be to experiment with the visual qualities of aging some metals, and as I result I have just ordered 3 small squares of metal online: 1 brass, 1 copper, 1 bronze. I am currently trawling the web for various ways of speeding up the aging process for each. I thought that something a basic as vinegar might do the trick, but apparently not. Every website suggests that I need complicated chemicals, that I think I would have a really tough time getting my hands on. But I will keep on looking.
Friday, 25 January 2013
Moodboard
Having read the play twice now, I have been thinking a lot about the sort of visuals that it conjures-up for me. Given that the play is set over 2000 years ago, I think this is a fantastic opportunity to be quite free with the costumes, not being constrained by historical accuracy, but at the same time not noticeably taking it out of its original context.
As I was reading it, to me the imagery that sprung-up was quite deco; geometric patterns, big angular blocky shapes, lots of gold, but weathered surfaces, a bit Babylonian, a bit Egyptian, a bit Masonic. All these aesthetics rose to popularity in the 1900s-1930s, shortly after the play was written, and therefore I think it is an aesthetic style that ties-in nicely with both the era of the play and the era in which the play was written. I don't want the aesthetics to be slavishly deco, and I think I will draw influence from quite a variety of sources, with art nouveau playing a part too, but I would quite like it to encompass the zeitgeist of that era. Thick blocky, clean lines. Angular shapes. Decaying opulence.
After dwelling on these concepts for a day or two, I headed to the library to get some books out in order to help create my moodboard. Although a dishearteningly conventional way to start my ilne of enquiry, it seemed very natural to look at the work of Gustav Klimt as a starting point- looking at his use of gold, his use of blocky shapes, and his portrayal of women. I don't want my final designs to be obviously Klimt-ian, but I think i would be an error not to at least start to look at his way of working. So I looked at a few Klimt books, a few on deco furniture and architecture, a few of jewellery, a few on Art Nouveau, and one on Egyptian ornament.
Below you will see a picture of my mood board, scanned-in from my sketchbook, the colours haven't translated particularly accurately but you get the general idea. I even included some copper leaf to try and convey this idea of metal which I have been toying with. I really like the idea of using metal as part of the costumes, and I will look into this in greater detail in the following weeks.
As I was reading it, to me the imagery that sprung-up was quite deco; geometric patterns, big angular blocky shapes, lots of gold, but weathered surfaces, a bit Babylonian, a bit Egyptian, a bit Masonic. All these aesthetics rose to popularity in the 1900s-1930s, shortly after the play was written, and therefore I think it is an aesthetic style that ties-in nicely with both the era of the play and the era in which the play was written. I don't want the aesthetics to be slavishly deco, and I think I will draw influence from quite a variety of sources, with art nouveau playing a part too, but I would quite like it to encompass the zeitgeist of that era. Thick blocky, clean lines. Angular shapes. Decaying opulence.
After dwelling on these concepts for a day or two, I headed to the library to get some books out in order to help create my moodboard. Although a dishearteningly conventional way to start my ilne of enquiry, it seemed very natural to look at the work of Gustav Klimt as a starting point- looking at his use of gold, his use of blocky shapes, and his portrayal of women. I don't want my final designs to be obviously Klimt-ian, but I think i would be an error not to at least start to look at his way of working. So I looked at a few Klimt books, a few on deco furniture and architecture, a few of jewellery, a few on Art Nouveau, and one on Egyptian ornament.
Below you will see a picture of my mood board, scanned-in from my sketchbook, the colours haven't translated particularly accurately but you get the general idea. I even included some copper leaf to try and convey this idea of metal which I have been toying with. I really like the idea of using metal as part of the costumes, and I will look into this in greater detail in the following weeks.
Monday, 21 January 2013
Salomé
Alas, alack, these are the baths of a disused Sanatorium in Beelitz, Germany, and I won't even START to list the reasons why therefore this would be a poor place to choose. But I will certainly draw inspiration from its visual qualities.
I also looked into the last big production of Salomé, which I believe was indeed the Headlong production that I remember touring in 2010. However, it was certainly not how I thought it was. I remember very clearly the image used on the publicity, because I loved it, and it intriguied me:
I enjoyed reading Salomé, although it was far shorter than I had expected (although not as short as Phaedra's Love), didn't realise it was a one-act one. However, I loved the imagery it painted in my head- golds and bronzes, strong linear deco lines, heavy contrasts to dark and light, and the wonderful emphasis on the moon.
One difficulty that struck me was that there are only really 4 main characters that seem to convey a bit more personality and backstory- 6 if you include the Young Syrian and Herodias' Page. The rest of the characters only have very brief and sporadic lines... not a lot that conveys character. But maybe this is a good challenge for me? I don't know. But having read it, I've sort of got my heart set on it. So I think it's all go for Salomé- although I haven't entirely ruled out the idea of doing the Strauss opera.....
Here are 3 initial stimuli that I feel epitomize my feelings after my FIRST reading of the play:
THE PLACE: Beelitz Sanatorium
THE PAINTING: Gustav Klimt: Portrait of Adele Bloch-Bauer I
THE SONG: Venus in Furs by the Velvet Underground (based on the book of same name)
Sunday, 20 January 2013
Searching for Sites
Anxious to get on, but yet to receive my plays, I decided that I would spend some time today having a look at potential spaces that I could theoretically do my production in. I didn't really know where to start, but I'd had this idea when thinking about Salomé that maybe an old swimming pool or something might be a good idea, as it is a space that lends itself to an audience of spectators, and some old pools had really beautiful interiors.
This at least acted as a starting point and lead me to this beautiful website, which I now ADORE called 'Urban Ghosts' (http://www.urbanghostsmedia.com) which documents beautiful images of old abandoned buildings etc. In reality, it would be near impossible to stage anything int most of these places due to health and safety, but at least I could identify some of the visuals that I appreciated, after all, in the end I really need to find somewhere I can get into to measure (or at least get hold of the grand plans for).
Anyway, below is a small moodboard of some of the images I found. Just places which I thought had a good character, but are non-specific to a play.
This at least acted as a starting point and lead me to this beautiful website, which I now ADORE called 'Urban Ghosts' (http://www.urbanghostsmedia.com) which documents beautiful images of old abandoned buildings etc. In reality, it would be near impossible to stage anything int most of these places due to health and safety, but at least I could identify some of the visuals that I appreciated, after all, in the end I really need to find somewhere I can get into to measure (or at least get hold of the grand plans for).
Anyway, below is a small moodboard of some of the images I found. Just places which I thought had a good character, but are non-specific to a play.
Saturday, 19 January 2013
Choice of Play
Given that this is a hypothetical project, the choice of production is entirely down to me. This is an incredibly difficult task: as I learnt from Lars Von Trier's 'Five Obstructions' often limitations can create better work, and it's hard to set yourself your own limitations, as you will always be biased.
Therefore I made a list in my head of qualities that I was looking for in my play choice: I wanted to diversify my portfolio and have the freedom to design something a bit more conceptual and edgy- something less twee than my previous Shakespeare comedy. I also wanted something where the era was non-specific, something archaic- something that wouldn't require 'changing' if I wanted to do it in a more abstract context. Finally, I wanted something a bit sexy, and quite dark, again, to contrast with some of my previous work.
Therefore I made a list in my head of qualities that I was looking for in my play choice: I wanted to diversify my portfolio and have the freedom to design something a bit more conceptual and edgy- something less twee than my previous Shakespeare comedy. I also wanted something where the era was non-specific, something archaic- something that wouldn't require 'changing' if I wanted to do it in a more abstract context. Finally, I wanted something a bit sexy, and quite dark, again, to contrast with some of my previous work.
It seems in every project I do, someone along the way describes my work as 'humorous', and although I'm normally fairly convinced that it's meant in the best possible way, I'd like to challenge myself to get away from this earmark in this project, maybe creating something striking or disturbing rather than 'humorous'.
Immediately, Phillip Riddley came to mind: a favourite author of mine as a child, whose harrowing adult plays have impressed and disturbed me in more recent times. However, after some research and careful consideration, I felt that actually, the grotesque nature that his plays relied on in order to work, often stemmed from the context conveying a lot of modern realism, with just a few fantastical flares (tying in with the bizarrely named characters etc.) Therefore, I decided that maybe his plays were not the best choice for show-casing the sort of design I wanted to explore in this project.
Although I quite fancied doing something obscure, I reasoned that I will probably spend a lot of my time in the future working on very 'obscure' pieces (experimental pieces, or fringe theatre etc.), and that actually it might benefit my portfolio to chose a classic text to design so that those who are viewing it can grasp my interpretation of the context easier. Maybe I'm wrong, but either way, it's a starting point.
I looked through a lot of plays and lists and synopses and in the end, I found myself most interested at plays that had been banned. Among these I saw Oscar Wilde's Salomé, admittedly a play that I'd had in mind from the very beginning, despite not knowing much about it. Salomé appealed to me because it ticked all the boxes, and seemed like the perfect text to inspire me to do some effective but imaginative designs.
I don't want to do what I did for Much Ado, and 'take it out' of its original context, it would be more that I would enjoy creating my own stylized interpretation of 1st century Israel etc. It is a timeless tale so historical accuracy is not paramount.
I also looked into the Richard Strauss opera based on Wilde's text. Although I would like to design for opera, and I may well favour this version after reading the 2 different scripts, I would really like to do Salomé as a site-specific piece, and I'd be a bit worried about the complications of acoustics in locations that were not built for opera. But again, this remains to be seen.
At this point, with help from my tutor, I had narrowed down my selection to two plays:
At this point, with help from my tutor, I had narrowed down my selection to two plays:
-Oscar Wilde's Salomé
-Sarah Kane's Phaedra's Love.
I have ordered both the plays and I hope to begin reading them as soon as they arrive, as I can't wait to get going with this project and I already feel behind!
NOTE:
I will also look at recent productions of these plays, I'm worried because I remember there being quite a recent production of Salomé by Headlong when I was on Foundation, and I think it got very good reviews. So I'll have to have a look.
NOTE:
I will also look at recent productions of these plays, I'm worried because I remember there being quite a recent production of Salomé by Headlong when I was on Foundation, and I think it got very good reviews. So I'll have to have a look.
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