SET DESIGN PORTFOLIO YI-HSUAN MA
Graduated from National Taiwan University (NTU) (Taipei , Taiwan) Department of Drama and Theater Set design Website_ http://yihusanma.wix.com/ant-setdesign
馬藝瑄 Yi-Hsuan Ma
CONTENT (1) set design Production P.01___The Balcony (by Jean Genet) P.23___2017 Taiwan Dance Scene-Mixed Program--One dance, one dances, one danced P.27___Blue John (by Birdy Fong) P.33___2017 Taiwan Women Theatre Festival---Oh My GO_D ( ) ESS (by Hsu Peng) P.41___Phaedra's Love (by Sarah Kane) Models P.45___The Maids (by Jean Genet) P.49___Lulu (by Alban Berg) P.55___La ronde (by Arthur Schnitzler)
(2) Exhibition / Props design / Painting P.61___Yue-Lao Cafe P.62___Hsiu (Shoes Studio) P.63___Olay commercial film P.64___RMT studio (Takagism Game) P.65___Sketches
NTU Theatre, 2013 Director: Li Sheng Chang Set design: Yi-Hsuan Ma Lighting design:Pei Yu Lai, Guan Ying Lai, Ze Yi Lai Costume design:Wang Ying Du, Hsin I Hsieh, Shu Han Chen Sound design:Chia Chien Lin, Phie Lee
LA BALCON by Jean Genet
Prague Quadrennial ofPerformance Design and Space Nominated Taiwan Student Section, 2015 RESEARCH
平面圖(S5)
La balcon / 03
剖面圖(S5)
LA BALCON PROCESS
by Jean Genet
draft model scene5 Iram's rom 1:100
draft model scene6
revolutionary 1:100
draft model scene9
tomb room 1:100
La balcon / 04
STORY BOARD
SCENE 1 __ Bishop room
RESEARCH
La balcon / 05
1:50 Model
La balcon / 06
STORY BOARD
SCENE2__Judge room
1:50 Model
La balcon / 07
RESEARCH
La balcon / 08
STORY BOARD
SCENE3__ General room
RESEARCH
La balcon / 09
1:50 Model
La balcon / 10
STORY BOARD
SCENE5__Iram's room
SKETCH
La balcon / 11
1:50 Model
RESEARCH
La balcon / 12
STORY BOARD
SCENE6__Revolutionary
La balcon / 13
To help audiences connect with the plot of the “revolutionary army” in the The Balcony, I changed the background into one representing Taiwan, where the Sunflower movement had recently happened. This social movement was led by a coalition of students who occupied the Legislature of Taiwan.
1:50 Model
RESEARCH
La balcon / 14
STORY BOARD
SCENE7__death of Torturer
RESEARCH
La balcon / 15
1:50 Model
La balcon / 16
STORY BOARD
SCENE 8 __ Balcony
1:50 Model
La balcon / 17
RESEARCH
La balcon / 18
STORY BOARD
SCENE9-1__Tomb room
鐵橋 +290
RESEARCH
As the play progressed, I had elements of the stage design, such as the red curtains and floor tiles, slowly removed. I spent some ideas at the scenery changing. In the end, all the pieces of scenery and stage props had been stripped away, exposing the fragmented prototype of the theater. In other word, illusion and reality are combined gradually through the role playing. Nothing to care about, neither it's real nor fake.
La balcon / 19
1:50 Model
La balcon / 20
STORY BOARD
SCENE9-2__Iram's room（Closed）
SKETCH
La balcon / 21
La balcon / 22
National Experimental Theater, 2017 Dancer : Wu-kang Chen. Ming-hwa Yeh. Yu-Ting Fang Set design：Yin-chiao Liao. Yi-Hsuan Ma Lighting design：Tian-Hong Wang Photo credit：Weichia Su
2017 Taiwan Dance Scene--Mixed Program
One dance, one dances, one danced by Chen Wu-Kang
2017 Taiwan Dance Scene-- Mixed Program RESEARCH
CONCEPT W i t h Yi n - c h i a o L i a o , w e t r i e d to focus on the dancer's body while dancing and visualise the choreographer's traces on t h e s t a g e b y h av i n g t h e d a n c e r s dancing on water-written cloth, a kind of white textile on which water leaves traces i n b l a c k , l i k e c a l l i g r a p hy.
One Dance / 25
One dance,one dances, one danced by Chen Wu-Kang
When the naked dancers sweated and made movements on the cloth, they left traces on it as if they had “printed” their bodies and movements on the stage. Th e a u d i e n c e e x p e r i e n c e d t h e p r o c e s s o f the performers exploring their bodies and witnessed the creation of the ink painting.
One Dance / 26
NTU Theatre, 2015 Director：Ruby Sam Set design：Yi-Hsuan Ma Lighting design：Pei Yu Lai Costume design：Ying Ying Lin Sound design：Nai Yu Cheng
BLUE JOHN
by Birdy Fong
RESEARCH
CONCEPT In the Lu Ming Hall (NTU theater) , using the original architecture, such as tress, steel s t a i r, p l a t f o r m . I created the live club with the industrial style design. Fo r t h e s e n s e o f p r e s e n c e a n d i m m e r s i v e t e n d e n c y o f a u d i e n c e , I c h a n g e d t h e a u d i e n c e seat to chairs and tables from the club. M o r e o v e r, t h e m o s t i m p o r t a n t c o n c e p t , I s e t t h e t o w e r w h e r e i s t h e c o n n e c t i o n b e t w e e n t h e story said by the aside, and the plot really happened in this minutes. Just like someone always see all of them; like the playwright who wrote down the love s t o r y o f S p i c y. Blue John / 29
PLOT SUMMARY
Blue John
by Birdy Fong
I n t h e b e g i n n i n g , a t a l k s h o w a c t r e s s , S p i c y, p e r f o r m a n c e s o n t h e s t a g e , t a l k i n g a b o u t h o w she met John. T h e s e c o n d s c e n e , K e n n y, a n e w c h a r a c t e r a s a n a s i d e , t a l k i n g a b o u t w h a t h a p p e n e d between Spicy and John after Spicy’ s talk show ends. As a saxophonist, John was a stammer but good at translating his feeling by music. Spicy f e l l i n t o a n i n c r e d i b l e r o m a n c e w i t h J o h n i m m e d i a t e l y. John wanted to chat with Spicy like a normal person, so he left Spicy for a treatment abroad. K e n n y t o l d S p i c y t h a t e v e r y t h i n g s h e c o n s i d e r e d a s a n i m p r o m p t u l o v e s t o r y, a c t u a l l y w a s J o h n ’s s c r i p t . J o h n i s n o t o n l y a p e r s o n S p i c y l o v e d , b u t a l s o a c r e a t o r o f e v e r y c h a r a c t e r. N o m a t t e r h o w h a r d S p i c y w a n t s t o h av e a n i m p r o m p t u l o v e i n h e r l i f e , i t ’s d e p e n d o n t h e plot John wrote.
Blue John / 30
STORY BOARD
RESEARCH
Blue John / 31
1:25 Model
Blue John / 32
National Experimental Theater, 2017 Director: Peng Hsu & Sih-Huei Du Set design: Yi-Hsuan Ma Lighting design: Yu-Ling Hsu Costume design: Yi-Zong Zhang Photo credit: biggggggggger＆ MEI-SIN WANG Photo provided by Taiwan Women Theatre Festival
2017 Taiwan Women Theatre Festival
Oh My GO_D ( ) ESS by Hsu Peng
Oh my GO_D ( ) ESS
by Hsu Peng
PLOT SUMMARY Christians believe that Mary, mother of Jesus, conceived her son while still a virgin by the holy spirit. But the playwright and director, Peng Hsu, tries to interpret this well-known “miracle” in another way, asking what if Mary never loved Joseph, the man believed to be Jesus’ human father, instead, she fell for a butch living in 2017 Taiwan? To go even more provocative, Peng Hsu made one of the male characters pregnant since Mary can give birth to a child as a virgin, why not man? The play also depicts tensed relationship between a Taiwanese mother and her lesbian daughter as well as the daughter’s struggle over her open relationships. In the play, the two worlds between the gods and the men are first separated, then it is because of the searches of desire that mark the merge of the two at the end of the play.
RESEARCH
Oh my Go_d / 35
2017 Taiwan Women Theatre Festival
Oh my Go_d / 36
STORY BOARD
At the beginning, I covered the whole theater with kind of plastic wraps. It is a metaphor for an embryo from a mammal. When the play started, actors took off those plastic wraps, indicating that the characters were born from the sky (fake clouds) and turned into humans. Every actor would stand on a fragment of the plate if being a character, otherwise, they can move freely on the stage. The broken plates symbolize their loneliness. When they tried to communicate, they moved the plates closer to one another. If they were refused and wanted to escape, they took the plates away to be isolated. And I used eight thousand blue ping pongs to express the image of flood.
Oh my Go_d / 37
Oh my Go_d / 38
CONCEPT
As the play moves on, those theatrical elements would b clouds and the plastic wraps. Soon the theater would exp blue balls and the broken plates. At the end of the show, recombined into a big bed, where desire rests upon. The ac this would be their only way to survive through the biblical c
Oh my Go_d / 39
be taken out, including the fake pose its prototype, leaving only all the pieces of plates will be ctors then stepped on it, knowing catastrophe.
Oh my Go_d / 40
NTU Experimental Theatre, 2014 Director：Shao Tong Lian Set design： Yi-Hsuan Ma Lighting design：Chiao Yu Chen Costume design：Ying Ying Lin Sound design：Chia Yu Ai
Phaedra's Love by Sarah Kane
RESEARCH
CONCEPT In the scene, the trial at the square, I set the two-sides stage, so that the audience felt like they were watching Hippolytus who got torn in the square. When Hippolytus was torn, hundreds of red balls rolled off to the auditorium. Th e a u d i e n c e c o u l d p i ck u p t h e ball and throw it on the stage or they indifferently let the balls r o l l s b y. A n d t h e n , t h e v i n e s behind the auditorium turned bright, following the hover of vultures, going to another more hopeless place. Phaedra's Love / 43
Phaedra's Love by Sarah Kane
Phaedra's Love / 44
The Maids by Jean Genet
1:50 Model
The Maids
1:50 Model
by Jean Genet The Maids , which has incredibly long scenes of role-playing, where one of the maids pretends to be the Madame of the house, and they start to act out their increasingly violent revenge fantasies. But then it becomes increasingly obvious that the fantasy is becoming more and more real, that the maids themselves are losing the ability to tell what is real and what is a game.
Maids / 47
RESEARCH
Maids / 48
LULU by Alban Berg
1:50 Model
RESEARCH
Prologue A circus animal tamer welcomes the audience and describes the various animals in his menagerie, such as tigers, bears and monkeys.
Act1
Scene 1: A spacious but shabby artist's studio. A podium, folding screen, easel with u n fi n i s h e d p o r t r a i t o f L u l u , d i v a n w i t h t i g e r skin, step ladder and sculpture. LULU / 51
LULU
1:50 Model
by Alban Berg Act1
Scene 3: In Lulu's dressing room in the theatre, a folding screen upstage.
Act2
S c e n e 1 : I n L u l u ' s h o u s e , a m a g n i fi c e n t German Renaissance style room with a gallery and staircase.
Act3
Scene 1: A spacious drawing room in L u l u ' s l u x u r i o u s h o u s e i n Pa r i s . Lulu's portrait hangs on the wall.
Act3
Scene 2: A windowless garret in London, with a leaking skylight. A bucket collects water d r i p p i n g f r o m t h e s k y l i g h t . O n t h e fl o o r a t o r n mattress. LULU / 52
PROCESS ver.1&2 model 1:100
Act1
Scene 1: A spacious but shabby artist's studio.
draft model 1:100
Act1
Scene 3: In Lulu's dressing room in the theatre
draft model 1:100
Act2 Scene 1: In Lulu's house
LULU / 53
ver.1~4 model 1:100
Act3
Scene 1: A spacious drawing room in Lulu's luxurious house i n Pa r i s .
draft model 1:100
Act3
Scene 2: A windowless garret in London, with a leaking skylight.
LULU / 54
LA RONDE by Arthur Schnitzler
Scene7: The Little Miss and the Poet
1:50 Model
LA RONDE
1:50 Model
by Arthur Schnitzler
RESEARCH
Scene1: The Whore and the Soldier La ronde / 57
Scene8: The Poet and the Actress
Th e p l ay s e t i n t h e 1 8 9 0 s i n Vi e n n a . I t s d r a m a t i c structure consists of ten interlocking scenes between pairs of lovers. Each of its ten characters appears in two consecutive scenes ( w i t h o n e f r o m t h e fi n a l s c e n e , Th e W h o r e , h av i n g a p p e a r e d i n t h e fi r s t ) .
Scene10: (back curtain open---the street in Vienna) The Count and the Whore
S c e n e 4 : T h e Yo u n g G e n t l e m a n a n d t h e Yo u n g Wife
Scene9:The Actress and the Count La ronde / 58
PROCESS
draft model 1:100 S c e n e 1 : Th e Whore and the Soldier
draft model 1:100 Scene4: Th e Yo u n g Gentleman and t h e Yo u n g W i f e
La ronde / 59
draft model 1:100 S c e n e 9 : Th e Actress and the Count
draft model 1:100 S c e n e 8 : Th e Po e t and the Actress
draft model 1:100 Scene10: (back curtain open--the street in Vi e n n a ) Th e C o u n t a n d the Whore
La ronde / 60
___Yue-Lao Cafe ___Hsiu (Shoes Studio) ___RMT studio (Takagism Game) ___Olay commercial film ＿ Sketch
Exhibition Props design Painting Sketch
Yue-Lao Café A牆 _平面圖
A牆 _平面圖
木構景片540*250cm，厚度不拘 景片後面會結合30*30*30cm木箱 30*45*40cm木箱共5個
大小尺寸相同，高度參照剖面圖 ㄇ框下面不封，讓觀眾把頭鑽進去 牆面會鑽洞(直徑R=8cm)，讓觀眾從小洞裡看到背後小盒子裡的場景
木構景片540*250cm，厚度不拘 景片後面會結合30*30*30cm木箱
五個小木箱內可能會 有小燈泡照明，吧台 區也會需要吊燈，至 少共六個插座。
30*45*40cm木箱共5個
大小尺寸相同，高度參照剖面圖 ㄇ框下面不封，讓觀眾把頭鑽進去 牆面會鑽洞(直徑R=8cm)，讓觀眾從小洞裡看到背後小盒子裡的場景
A牆 概念參考圖
A牆 概念參考圖
五個小木箱內可能會 有小燈泡照明，吧台 區也會需要吊燈，至 少共六個插座。
30*30*30cm 盒內小場景概念參考圖
30*30*30cm 盒內小場景概念參考圖 540.0
540.0
30*30*30cm木箱共5個 大小尺寸相同，高度參照剖面圖 等設計將盒子裡面set好再固定到牆面上
30*30*30cm木箱共5個 大小尺寸相同，高度參照剖面圖 等設計將盒子裡面set好再固定到牆面上 40.0
30*45*60cm木箱固定牆後
40.0
30*45*60cm木箱固定牆後
牆面挖洞做為信箱，讓觀眾丟進紙條 外面做把手可拉開來看別人的紙條
B牆
720.0
牆面挖洞做為信箱，讓觀眾丟進紙條 外面做把手可拉開來看別人的紙條
490.8
B牆
720.0 490.8
空間配置_平面圖
180.0
空間配置_平面圖
咖啡廳桌椅形式不拘，可找庫存 180*60*76cm的桌子與六張椅子 60.0
180.0
B牆 概念參考圖
咖啡廳桌椅形式不拘，可找庫存 180*60*76cm的桌子與六張椅子 60.0
540.0
B牆 概念參考圖
540.0 200.0
吧台形式不拘，可找庫存 200*35*100cm的方形cube 35.0
40.0
B牆 490.8
200.0
35.0 40.0
可開式門，門板型式會 再附上設計圖
B牆 490.8 720.0
more / 61
720.0
吧台形式不拘，可找庫存 200*35*100cm的方形cube
可開式門，門板型式會 再附上設計圖
Hsiu
Shoes Studio
more / 62
Takagism Game
RMT Studio_painting project
more / 63
Olay Commercial Film
more / 64
Sketch
Scanned by CamScanner
more / 65
more / 66