2021 Interior Design Capstone by Emily Skalka

HOW CAN THEATRE BECOME MORE ACCESSIBLE?

INTERIOR DESIGN CAPSTONE

TABLE OF CONTENTS

Capstone Overview

Theatre Structures

Looking at the accessibility of theatre in two ways: mobility and proximity.

Thrust Stage, Black Box Theatre, Theatre in the Round

Use of Projection and Lighting

Pulling Back the Curtain

Experimental Theaters

Wonderful Circus, Dear Evan Hansen, The Hunt

Grease Live!, The Truman Show, Anna Karenina

Sleep No More, No Peeking Theatre, The Shakespeare Tavern Playhouse

Emily Skalka

University of Cincinnati - DAAP - INTD-5002.001

August, 2020 - April, 2021

Initial Iterations

Module Form Iterations

Midterm

Model Photos

Final Drawings

Site - No Modules, Modules - No Site, Site and Modules

Clay Forms from Film, Circulation Forms, Stage Forms

Site Diagrams, Module Drawings, Play Drawings

Study in Materials, Study in Scale and Atmosphere, Final Model Used for Stop Motion

Site Diagrams, Module Drawings, Play Drawings, Renderings

CAPSTONE OVERVIEW Looking at the accessibility of theatre in two ways: mobility and proximity.

The creation of this modular system addresses mobility by bringing the theatre, stage, and set to you. Its nesting design allows for easy transport via semi-truck to any site by storing the medium and small modules within the large. The modular system also addresses the accessibility of theatre in regard to proximity. Proximity of the audience to the actors. By bringing the theatre and stage down to the human scale, it allows for everyone to have the best seat in the house, it allows the audience and actors to share the same space.

Summer Research

Design Process

Final Capstone

Summer semester was used as the research semester to determine which field of design we would be working in and our question. My question changed multiple times, but it remained centered around theatre and creating an interactive theatre experience.

While the design process started in summer semester, most of the work in this section was produced in spring semester. I went through a few plays to find one that worked as my tester play and would not get in the way of finding the solution to my question.

The drawings in this section include site diagrams, plans and sections of the module, diagrams showing multiple configurations and the module in multiple locations, and then drawings of the system being used at the chosen site for the chosen play.

THEATRE STRUCTURES

01 Summer Research

Thrust Stage Black Box Theatre Theatre in the Round

Whether the theatre is a Thrust Stage or In-the-Round, the body of the audience is seated and facing forward. One could see the same show performed on each structure and have, relatively, the same experience. How would this change if the audience moved through the set? Sat with the actor? Can the movement of the audience be choreographed by lighting? By the set? The actor - stage, audience - stage, and actor - audience relationships are challenged as the production is designed with one or more of these relationships in mind.

THRUST STAGE

This theatre structure has been used since the Elizabethan times, however, from the late 17th century until the mid-20th century, the Proscenium stage was the dominant style. It’s popularity grew along side other experimental structures for its proximity of actor to audience. With stage shape possibilities ranging from rectangles and semi-circles to half polygons, the set design has a 3-dimensional element due to the nature of the audience’s 270 degree view of the stage. These stage shapes also force the set design to be anchored on the back wall, leaving a large portion of up-stage open for the actors.

MEDIATION OF...

Body

Space

Container (4th Wall)

The Body of the actor and the audience is mediated by their closer proximity to each other. The actor is visible to the audience on three sides. Grounding the stage at the same level of the audience creates a feeling of familiarity that is felt by both parties. The actor also must be aware of how long their back has been turned to one section of the audience at a time. The Body of the audience is being mediated by its position to see more of the stage.

Having the stage reach out into the audience mediates the Space and provides natural levels not seen in many of the other forms. This style also provides a clearer distinction between foreground, middle-ground, and background and visible “pinch points” which also mediates the Space. The ability for the stage to take on different shapes (semi-circle, rectangle, polygon, etc.) mediates the space via stage shape and seating amount/arrangement.

The Container is mediated by the stage with its puncture into the audience. The traditional 4th wall that is seen in Proscenium is broken as the stage thrusts into the audience. The stage and audience starting at the same level, allows the line between audience and actor to begin to blur. While a different variation of the Container is created, the set/stage does not break it, leaving it up to the play or lighting to cross over if necessary.

BLACK BOX THEATRE

Black Box Theatre arrived in the 1920s but became popular and increasingly widespread in the 1960s. It is also known as the Experimental/ Flexible theatre due to its ability to easily transform staging, seating, and lighting configurations. It was very popular with experimental designers and directors for its “blank slate” nature and personal relationship between actor and audience. Black Box theaters are also commonly used for smaller, less known shows when a large main stage would not be appropriate. This allows smaller productions with a smaller budget to put on and profit off of the show.

MEDIATION OF...

Body

Space

Container (4th Wall)

The Body is mediated by drawing all focus to the stage. All other surfaces are smooth and black thus pulling none of the audience’s focus. The nature of this style creates the illusion that you are the only person in the crowd. It mediates by creating an intimate atmosphere for the actors and audience due to their proximity. With actors and audience starting at the same level, the lack of hierarchy between the piece, performer, and spectator is made.

The Space is mediated by every surface, but the set, being black creating a void of space. Where proscenium and thrust theaters have beautiful detailed/decorated interiors that may distract from or clash with the set, the black box mediates the space so that the stage pulls all of the focus. Having the stage on a raised platform and the audience seating set on raisers, the space has the flexibility to change its layout from show to show.

With this style, the Container is being mediated by bringing the actors closer to the audience in a more intimate environment. However, unlike in-the-round, one side of the stage is grounded and is acting as an anchor for the actor to come back to when the 4th wall must remain unchanged. The Container is most often blurred during entrances and exits because the actor walk through the audience. This forces the actor to enter and exist with purpose.

THEATRE IN THE ROUND

Also known as Arena Stage, Central Stage, or Island Stage, this structure has the acting area, either raised or at floor level, completely surrounded by the audience. Its roots are in ancient Greek rituals that evolved into classical Greek theatre. Used again in medieval England, it gave way to the Open Stage of Elizabethan times. However, the raise of the Proscenium Stage in the 17th century led to the fall of this theatre structure. It’s popularity did not return until the 1930s when Nikolay Okholpkov began to use it at his theatre in Moscow, and was widely adopted in the late 1960s by experimental theatre troupes.

MEDIATION OF...

Body

Space

Container (4th Wall)

The Body of the audience and the actor is mediated by the nature of the 360 degree style of this structure. Not only is it brought closer to the performance area and is able to see the entire area, but it has the ability to see other audience members on the other side of it. The Body of the actor is less stationary as it needs to ensure that no part of the audience is facing its back for too long. Both mediations make the audience perform as an ensemble cast.

The Space is mediated by the demand of being viewed in 360 degrees. Care must be taken with the set to ensure that every audience member receives a similar visual experience. This means a double height set is not fit for this structure, making more minimalist designs work beautifully. With the closeness of the audience, scene changes are visible, therefore part of the performance and should be choreographed with this in mind.

The Container is being mediated by allowing the actors to get very close to the audience. This allows the 4th wall to begin to blur as actors may be as close to an audience member as the person sitting next to them. Entrances and exits made by the actors are used to puncture the container by emerging from and disappearing into the audience. This movement and the proximity of the audience mediates the 4th wall by causing it to expand and contract.

USE OF PROJECTION AND LIGHTING

01 Summer Research

Wonderful Circus Dear Evan Hansen The Hunt

Typical theatre structures light the stage and actor while keeping the audience in a dark void. This is to pull focus to the performance and highlight the things that the audience should be watching. However, if our orientation to the stage changes, then shouldn’t our use of light change also? Can light not only be used to pull focus, but to direct movement? Highlight the audience as an ensemble cast? Blurring the lines between who is actor and who is spectator speaks to theater’s ability to provide social commentary and showcase human experiences and attitudes.

WONDERFUL CIRCUS Design: Josef Svoboda Premiering in 1977, it is the most preformed title of Laterna Magika. This theatrical style was created by Josef Svoboda and Alfréd Radok. It was showcased at the Brussels World’s Fair in 1958 and received great international acclaim. Laterna Magika combines film and the performances of live actors and dancers. With the combination of technology from the film and stage industries, the possibilities are endless. The main goal of this style is to give absolute freedom for scenographic and staging approaches for the performance. For this show, the stage is transformed into a circus tent. A panoramic projected picture and tricks involving a mixture of imagination and reality are used.

USE FOR...

Depth

Unlimited Locations

Additional Characters

The use of a large projection screen as the backdrop of a show can create the illusion of depth that does not exist. Using videos of various landscapes can make the stage seem larger than it is to the audience. Projection in this form can be used to create very realistic backgrounds that help the audience situate themselves in the world, or it can be used to create a very stylized and magical world to give context to the sets and props used.

This format is most beneficial to productions that involve a script that allows for multiple locations. The use of projection as a backdrop has the ability to create an infinite amount of locations at any time of day. For a show in which many years pass, this can be used to show the days and seasons passing. It also may be more beneficial to productions that have a lower budget because less physically built sets need to be constructed.

Projections can be used to capture the people on the stage on the screen as well, as they move from stage to screen and back again. This may be more beneficial for shows that contain an element of magic or wonder as imagination and reality begin to blur together. It can also be used to house characters of its own. These may include: a narrator, animals, a full ensemble, or inanimate objects.

DEAR EVAN HANSEN Direction: Michael Greif Design: David Korins Projection: Peter Nigrini Lighting: Japhy Weideman The challenge of this show was to design a set that would allow the actors to fulling believe that they have fallen into the world of the Internet and social media. About a dozen hanging projector screens are used to bring the virtual world alive by flashing videos and photos and scrolling through feeds. The set as a whole is just a black box with various props, this is done to encourage the projection and lighting to provide most of the scene context and tone of the show. The heavy use of projection gives life to this virtual world and makes the Internet seem like a character of its own.

Projection in used to create an additional character in the Internet and transform the space to showcase the main characters fall into the virtual world. With the addition of the lighting, the audience can clearly see the switch between the physical world that Evan lives in, most importantly his bedroom, and the virtual world that he gets pulled into through out the show. As the projectors scroll through social media feeds, play videos, and display photos it creates a kaleidoscope of information that is overwhelming for the audience and makes it difficult to focus on just one element. This is used to show how distracting the Internet and social media can be, and that, like Evan, it is easy for people to get swept up into it.

THE HUNT Direction: Rupert Goold Design: Es Devlin Lighting: Neil Austin Within the staging area at the center of a raised platform, there is a compact glass house outlined with neon lights. Its walls switch between transparent and translucent with the interior lights turning on/off. Mounted on a carousel that sometimes revolves counter to the wider stage turntable surrounding it. Built around the house is a bench used for seating outside, so that the only furniture needed would be used inside of the house and could be brought in through the trap door in the floor of the house. This allows for clean scene changes. Above the stage is linear light box that is used to illuminate and frame the edge of the stage.

FRAMING OF...

EXTERIOR LIGHTING

INTERIOR LIGHTING

EXTERIOR LIGHTING

INTERIOR LIGHTING

Body

Space

Container (4th Wall)

The lighting and the materiality of the structure creates an awe factor the first time the interior lights are used rather than the exterior lights. This combination also provides a unique space that frames the Body. The effect is also used to help the audience understand that the characters have moved to a different location, which is more necessary with a minimalist set.

The Space of the structure is framed by its materiality and the lighting. With exterior lighting, the material is opaque, but its frame has LED lights that omit a low glow that frames out the structure so its form can be visible in low lighting scenes. The interior of the structure also has lights on its frame and when they are turned on, the material of the structure becomes transparent.

Light is used to frame the raised stage, while the area surrounding it remains in shadow. While the Container includes both the raised stage and shadowed area, the overhead light that frames the stage creates a Container within the Container. This is to draw attention to where most of the action takes place, especially when actors are off stage but still visible to the audience.

PULLING BACK THE CURTAIN

01 Summer Research

Grease Live! The Truman Show Anna Karenina

Challenge what the stage is and manipulate its framing to provide new perspectives for both the actors and the audience members. Looking at changing how a piece is being viewed and how this will alter the experience for all. Typically, a performance is viewed by people who are stationary and looking straight ahead. What happens when the spectator is moving? What if they share the same space as the actor? By designing with the intention of giving the audience a new perspective, the production takes on a new life and challenges the actors’ performance.

GREASE LIVE! Direction: Thomas Kail Alex Rudzinski Design: David Korins Joe Celli Jason Howard Lighting: Al Gurdon Travis Hagenbuch Madigan Stehly Will Gossett Ryan Tanker Grease Live combines the visual scene changes of theatre with the cathartic revelation of space that happens in film. The opening number starts in the present, introduces the characters and some back stage elements, and then transitions into the 1950s, as if to say “we are going to put on this show now”. The live studio audience and curtain call were reminders that this was a theatrical performance, but on TV.

Rydell High

Carnival

-Gym -Frosty’s Diner - Beach

-Auto Shop -Drive-In -Thunder Road -Frenchy’s Room -USO Number

An element that is seen in theatre more than film/ TV is scene changes. Since Grease Live! exists in both, the scene changes needed to be designed to work seamlessly. This also means that some of the transitions would be visible to the audience. An example is a hallway wall that is set on a track. From a scene in the hallway to one in the admin office, the wall would slide open from the middle to reveal the actors in the office.

Set proximity was a very important element to plan for this production to run smoothly. With scene transitions and costume changes happening fast, it is necessary to look scene to scene to see which have a closer relationship and keep those in the same building. For example, having a door in Frenchy’s room that leads to the USO concert. Another element that links scenes are props. For larger props, like cars, it is easier to keep them in one central area. So, having the Auto Shop, Drive-In, and Thunder Road sets in the same building meant that it was easier to get the cars into position.

THE TRUMAN SHOW Direction: Peter Weir Design: Dennis Gassner Cinematography: Peter Biziou The concept of the Truman Show centers around an artificial world, entitled Seahaven, which is actually an extremely large television set. Everyone participating in this created world is an actor except for Truman himself. Focusing on the ‘ideal’ daily life of Truman, people in the real world can escape into this perfect world every time they watch the show. Similar to theatre, the show acts as an oasis for people to lean into while providing them perspective on their own lives. It also shows how external forces play a large part in our lives, and comments on how we are all playing a part.

The Truman Show centers around spectators in the real world watching a character who lives in an ideal, fake world on TV. Having watched Truman grow up and exist in this fictional world that is so similar to our own, the audience is able to escape into the world of Seahaven, forget about their troubles while they route for Truman, but also gain perspective on their lives as they watch life through Truman’s eyes. This translates directly into the theatre. People go to the theatre to be entertained and to forget about their life for a few hours. Theatre tells stories of the human experience and is presented live for people to find themselves in the characters. Like the Truman Show, theatre gives people perspective to the world around them by presenting life in a simple, fictional world that reflects the charms and faults of humans.

ANNA KARENINA Direction: Joe Wright Design: Sarah Greenwood Katie Spencer Cinematography: Seamus McGarvey Apart from a few scenes, the film takes place within an immense Russian theaterstage containing 100 distinct sets that was built at the Shepperton Studios in England. With the opening scene, it becomes clear to the audience that this will be a stylized production and you understand that their world is contained on the stage. This concept came from Director Joe Wright from a book that he read about this period of Russia. It expressed that the aristocrats were going through an identity crisis, (acting and speaking French) and that they were all playing various parts.

AK’s Bedroom Wall Flys Up St Petersburg Backdrop is revealed

AAK’s Office Walls Fly Down

Servants bring in props

One of the overarching motifs represented in this film is the aristocrats’ inability to do things for themselves, e.g. shave, dress, or make tea. Another way this is represented is by using the servants to help in the scene changes. In the image to the right, servants are seen bringing on Karenin’s desk for his office. Not all scene changes are visible, but when they are, they are preformed by the servants.

Anna Karenina

Camera

Alexei Alexandrovich Karenin

Servants

Ensemble

With the decision to set this film in a large theatre came the opportunity to choreograph seamless transitions from scene to scene and room to room. As part of the opening sequence, Anna leaves her room and ends up entering into her husband’s office. To give her time to get around the camera at set for the perfectly timed entrance, the camera pans over ensemble members and shows the St. Petersburg backdrop to give the audience context of location. While walls fly up and down and props are brought in, Anna, Karenin, and the Servants must carefully move in time so that they camera frames them at the right time. This sequence reminds the audience of the underlaying motif that the aristocrats are playing a part in their own lives.

EXPERIMENTAL THEATERS

01 Summer Research

Sleep No More No Peeking Theatre The Shakespeare Tavern Playhouse

The production of shows that highlight each of the five senses in various curated moments/scenes. Using lighting and set elements to challenge what is stage and what is not and bringing actor and audience together into the same space. Creating a series of spaces that focus on the atmosphere of a scene and creates a space where both actor and spectator are experiencing the same events. An interactive theatre experience where the relationship between actor and audience member is challenged and transforms from scene to scene.

SLEEP NO MORE Location: McKittrick Hotel, NYC Design: Felix Barrett Livi Vaughan Beatrice Minns Sleep No More is an immersive production of Shakespeare’s Macbeth. Told in the film noir style, the audience members must wear a white mask for the duration of the performance. The show is set to follow a “choose your own path” structure so that the audience members may follow a specific actor from room to room, or just wonder through out the hotel. Each room is set up to be interactive for actor and spectator alike, including interaction between the two. This production really encourages an individual experience, even if a person comes with other people, they should pick their own path.

RELATIONSHIPS OF...

Actor Audience

Scene to Scene

Actor to Audience - Space

Actor to Audience - Body

As members of the audience walk through the space, following actors, they move from scene to scene. The circulation of this sequence is not set, making the visitor choose their own path. This most likely will lead the viewer to see and understand the play in a random order. While this system works for a play as popular as Macbeth, it may not be as effective for a play that is unfamiliar to most, and therefore should be understood chronologically.

With this format, sets are more interactive and less structured. While an actor may be sitting on a sofa speaking with another actor, the audience members are encouraged to share the same space rather than remain on the perimeter of the room. This freedom for the audience creates the feeling of being apart of the production, thus using those who attend the show as its ensemble members.

When visitors arrive to the McKittrick Hotel, they are given masks to wear during the production. This is to easily distinguish audience from actor. The masks also help limit distractions for both actor and audience because the only faces to focus on are those of the actors. The choice to have the mask cover the entire face also discourages talking between audience members, and prevents them to make faces at the actors, trying to distract them.

NO PEEKING THEATRE Location: Jersey City Founded By: Amanda Levie The No Peeking Theater’s mission is to bring communities together through works that create dialogue between marginalized groups. Audience members are blindfolded for the duration of the show and must rely on their other senses to understand and track the story. With no visual queues, the audience experiences the production through the other 4 senses and the sensory element of atmosphere. With this in mind, actors do not need to worry whether or not they “look the part” because no one will see them. This allows the production to convey a story, without limiting the spectator from what powerfully influences us all when creating judgment: Appearance. Take Aways: - All senses are just as important when it comes to experiencing a performance. - When designing, the main focus shouldn’t always be visual. - When designing an immersive theatrical experience, each sense should be highlighted.

THE SHAKESPEARE TAVERN PLAYHOUSE Location: Atlanta, GA Design: Jeff Watkins, current Artistic Director Like many dinner theaters, the Tavern has food and drinks available before each performance and during intermission. The S.T.P. performs the plays of Shakespeare in the Original Practice, i.e. true to form, to celebrate the poetic genius. Much of the theater’s inspiration comes from Shakespeare’s Globe in London. With the intimate setting and proximity of audience to stage, the S.T.P. is reminiscent of a black box theatre, but the staging area is fixed and acts similar to the proscenium structure. With the incorporation of the tavern element, the S.T.P. brings the ‘night out to the theatre’ to one location. Take Aways: - Giving people time to acclimate to their surroundings will help them sink into the show. - A night out to the theatre is more than just the show for most people. - The performance starts when the audience arrives, for each person is both actor and spectator.

INITIAL ITERATIONS

02 Design Process

Site - No Modules Modules - No Site Site and Modules

For these iterations I was looking at the play BEAT by Emily Russell. To begin the design process, I looked at three different conditions that would influence the design. Each condition also addresses the accessibility and interactive elements of the theatrical experience I set out to design. From these three iterations, I chose to move forward with the module and a site. Each floor plan iteration was designed with the bubble diagram on the next page in mind. This diagram shows the relationship between the scenes that drove each of the following layouts.

SITE - NO MODULES As the world and society evolved, the stage has evolved with them. From open-air stages to proscenium to the experiential black box theaters, the stage has evolved in response to the audience’s desire to be closer to the actors. Some theatre companies are now starting to look past the conventional stage and embrace the famous Shakespeare phrase, “All the world’s a stage.” One theatre company in New York City uses a hotel for a film noir production of Macbeth, while others project their productions onto the side of a building. The former brings audience members into the same space as the actors, blurring the lines between audience and ensemble. The latter brings theatre to the people and engages communities. This is where the concept for my capstone begins to form.

MODULES - NO SITE

SITE AND MODULES

MODULE FORM ITERATIONS

02 Design Process

Clay Forms from Film Circulation Forms Stage Forms

Once I decided to move forward with a modular system, I had to find what that form was going to be. First, I created triangle wedges out of clay and manipulated them in various ways. Next, I looked at different types of circulation and the forms that could be created from those patterns. This, however, began to stray away from theatre itself, so I went back to the theatre structures I researched during summer semester for another round of iterations. Connecting the modular system back to the stage gave purpose to the forms, and the final form was found.

CLAY FORMS FROM FILM The play that I am focusing on for the creation of the module has 12 different locations. This led me to think of a clock and the 12 wedges that make up the circle. However, not every module will look or act in the same way because each scene will need different components to work affectively. This led me to look at how this initial wedge shape could be transformed based on the atmospheric quality or circulation pattern it needed to express. The three images to the right show the form in different configurations with a mix of spatial qualities and materials. The matrix on the next page shows the manipulation of the wedge form based on various spatial qualities. Through this exploration, I found myself stuck at the end of it. All of my iterations and designs thus far were made for the play BEAT, but the complexity of the scene structure was impeding my ability to create a successful modular system. I decided then that while my final system could later be used for this play, I would need to change my tester play so that I could find the right form for my system. The tester play moving forward is Betrayal by Harold Pinter.

CIRCULATION FORMS

STAGE FORMS Bringing the focus back to these four stage structures produced forms that got their shape from direct decisions rather than the aimless creations that came from the circulation patterns. For each of the structures I identified an element that is unique to it and designed each form based on that element. The Proscenium theatre structure is unique in its shape by creating a forced perspective. This led to a module that recreated that forced perspective and acted as a backdrop for the scene. The pinch points in a Thrust Stage influenced a closed system that had an open front that would connect to the front or back of another. The modularity of this form created pinch points between each scene. The curved, nesting modular form created for the In-the-Round structure focused on the 360º viewing, and encapsulating each scene in a quarter/half/or 3 quarters circle. The Black Box module looked at flexibility and being able to create size or shaped space. This module is more conducive to minimalist set designs.

MIDTERM

02 Design Process

Site Diagrams Module Drawings Play Drawings

Once I decided to move forward with the module created from the In-the-Round structure, further development was required. After playing a bit with the size of these modules, the final dimensions came from the decision to transport them via semi-truck. These modules also need to act as theatre, stage, and set which meant multiple programs would need to be applied. At this point in the process, most of the design is still in flux, including the lighting system and the layout of the modules for the play at the site. Development of the module itself is ongoing as well.

SITE DIAGRAMS

Parti

Internal Views

Hierarchy - Use of Space

Types of Entry

Circulation of Use

Natural Light

Boarded-Up Garage Door Garage Door

3’ Door Boarded-Up 3’ Door

N Site Schools/Churches/Clinics Restaurants Retail Parks/Playgrounds

0.5 mi

Empty Warehouse

Eden Park

Cincinnati Art Museum

The Oculus

Large, Medium, and Small

Large

Large with Opening

Medium

Small

Small: Half Height

Large, Medium, and Small

Large

Large with Opening

Medium

Small

Small: Half Height

Marquee

Ticket Booth

Bar

Set

Lighting System

Marquee Lobby and Bar Scenes 1-3 Scenes 4-7 Scenes 8-9 Actor Area

MODEL PHOTOS

02 Design Process

Study in Materials Study in Scale and Atmosphere Final Model Used for Stop Motion

I used three different scales for each of the model studies conducted depending on what the desired outcome was. For the first study, I used 1/2 scale to see if the use of plexiglass and mirrors would create the desirable effect. It did not, so moving onto the 1/4 scale models to see how the size of the modules feel next to people. Finally, the use of the 1/8 scale to quickly make multiple different layouts. Each scale was used to show and explore different elements of the module, to work out the kinks, and to explore multiple options for each of the module sizes.

STUDY IN MATERIALS

LargeLarge withModule Opening with Opening

Medium with Clear Plexiglass Medium Module with Clear Plexiglass

Small with Module with Colored Plexiglass Small Colored Plexiglass

STUDY IN SCALE AND ATMOSPHERE

FINAL MODEL USED FOR STOP MOTION The use of the 1/8 scale model here was to show how the modules would arrive to the site, and the process of getting them set up. The number of trucks needed to transport the amount of modules required for the production will change depending on whether it is a semi-truck or a large U-Haul truck, and the production itself. For this production of Betrayal, it requires three semi-trucks to transport the modules themselves, plus one or two extra for they furniture and props needed for the sets. While the scale of these models makes it hard to also show the set-up of the lighting system, it is a good representation of how a production might start to come to life with the use of this modular system.

FINAL DRAWINGS

03 Final Capstone

Site Diagrams Module Drawings Play Drawings Renderings

I began to think of the access of theatre in the sense of mobility. Creating a modular system that could bring the theatre, stage, and set to any city and any site. The accessibility of theatre also changes by bringing the audience closer to the actors. Going to the theatre, people pay more for seats closer to the stage so they can see the emotions and feel like they’re a part of the actors’ world for the night. By taking away the inherent hierarchy of the stage, every person that comes to the production is a member of the ensemble and all have an equal chance to step into a different world for the night.

SITE DIAGRAMS

Figure - Ground

Surrounding Program Site Schools/Churches/Clinics Retail

Vegetation

Sun Path

Betrayal at DPMT 7

The Last 5 Years at Eden Park

Present Laughter at Cincinnati Art Museum

Pippin at Central Park

The Wizard of Oz at the Oculus

Hamlet at Grand Central Station

Waitress at Navy Pier

Hairspray at the Merchandise Mart

A Raisin in the Sun at Northerly Park

Large, Medium, and Small

Large

Medium

Small

Large, Medium, and Small

Large

Medium

Small

Lighting Connection Detail

Telescoping Lighting System

Fastening Detail

Track System

Floor Plan

Program Diagram

Actor Circulation Diagram

Reflected Ceiling Plan

Audience Circulation Diagram

THANK YOU