Lately I've been busy. Very busy.
First I had to render costumes for scenography project on "Romeo and Juliet". Second I have to attend rehearsal for "Three Fat Virgins Unassembled" as an ASM, at the same time help out with the bump-in of this show together with that of "Invisibility" (currently performing in school). Third, a few essays are almost due and I've yet start on any of them.
Anyway, that's not the main point for this post.
Lately I got an "offer" to do scenic and lighting design for my troupe's "Bloodshed in the Imperial Palace", which we would be performing in Taiwan this August/ September. Actually, it was me who volunteered my service, as I thought this would be a good learning experience for me, instead of just working in school context. But then, it wasn't that easy for me as I'm faced with two big challenges: my troupe leader wanted me to use as little set pieces as possible and use more of light to enhance the performance; the venue has got only 4 fly bars for flying scenic pieces.
This comes as a blow to me. No way am I going to compromise my artistic vision just because of budget constraint, as I've done in 2006 for "Courtesan Yu Tang Chun" which I felt is a failure and that I'm almost too ashamed to even put it in my CV. However, lately as I was doing research on Edward Gordon Craig for my Theatre History essay assignment, I realised that there's a lot I could learn from him. He too once had to make do with an unpromising theatre and yet he could create something out of it. What's more important is that despite having relatively simple set for his productions, they remained very effective because he was able to make his set integrate with the whole plot, instead of being a standalone element on its own.
Perhaps I can try to apply his techniques into my design. However, how well it works is yet to be known...
No comments:
Post a Comment