3 3 10 10

#4, 5, 10 -- Immersive setting for both performers and audience

#9 -- Medea walks through and finishes the last part of the play

#6, 8 -- Background setting and entrances, the audience may be blocked from view if they sit here.

Changing Space

The cactus and scrubs are positioned to form a public area, where allows a large group of audience to be seated.

Circulation

This drawing shows possible paths through the largest auditorium. Audience can walk through the realistic, immersive and impressive landscape, and step in a world where Medea and Jackson live, love and die.

Desert Analysis

It could be a small semi-private space.

Another public space for audience to be seated.

This small space is located at the end of the entire auditorium, and the audience can choose to sit or stand according to their needs.

The desert vegetation in Australia consists of two large environmental units, while allocasuarina decaisneana or desert oak is one of the most common plant. Also, besides bonedry desert, Australian desert also covered by a range of hardy low shrub species.

Mood Board

According to Elizabeth Sakellaridou, a professor of drama and theatre studies, real space is one of the major space to make audience feel more integrated into theatre performance. It means if the play is set in desert, audience would sit on the desert landscape and have people watch it there to feel more immersed in the performance.

Also, to emphasize Medea’s broken world, both mentally and physically, the performance space is divided into pieces. It means the storytelling is to be cut up into chunks, as different parts of the story are to appear in different places.

Design Elements

Props can be simply divided into two groups, architectural elements and natural elements. All the furniture veneer and floor covering with wooden surface aims to corresponding to desert setting.

A group of image on the right is lighting references, which shows wavy, golden, shimmering light.

Rough Model

Section 1 Section 2 Section 3 Section 4-1 Section 4-2

Starting with Medea walking in desert, this production uses a series of tableaus for storytelling. In section 1, Medea strolls through the desert, then walks into house and brings audience into their daily life.

In this section, there are two scenes. One happens in their house, another happens outside, whereas both of them are in realistic set.

In section 2, I design two small stages which are supposed to create a fantasy world for specific moments, such as Medea’s monologue.

Medea feels trapped both by her physical surroundings and her destiny and the destiny of her child. Finally, in this section of revenge and sacrifice Medea kills her son. Therefore, I split this section into two parts to tell the story well.