One of the first things that came to my mind when we decided on the topic of sleep was dens. Sheets billowing down from the ceiling, fairy lights providing a light source and a way to hang sheets up, with pillows and blankets scattered everywhere… The perfect place for relaxation.
I am having discussions with Emelia (our Director), and we both came to the same conclusion that we want an intimate experience for our audience due to the immersive style of including verbatim from real people. For inspiration, I researched a performance called Partus by Third Angel (Third Angel, 2017), which was a good example of a friendly, intimate staging that made the audience comfortable. It was performed in a way to invite the audience to take part and feel connected to the verbatim stories about pregnancy. Their seating was arranged in the round, allowing the performers to sit and talk to the audience.
Inspired by Third Angel’s production, I decided that our show: The Truth About Bedtime…, is going to have staging on a flat surface with chairs set out in a horseshoe shape (thrust staging) to allow the actors to perform in front and very close to the audience. Pillows, cushions, and blankets are going to be placed around the performance space, giving the opportunity for audience members to be comfortable and cosy. Chairs will be available just behind the pillows and blankets to allow accessibility and provide comfort for people who cannot sit on the floor or who would prefer to sit on chairs. With the staging going to be flattened to allow this type of seating, it allows our production to accept audiences who are disabled or struggle to go up steps. Chairs will be reserved where appropriate and can be removed to allow space for wheelchairs. From the beginning of the process, I want the staging to allow accessibility for all as the theme of the show is to educate audiences about sleep, something we all do. The show has the opportunity to bring ‘us [performers and audiences] together and teaches us about ourselves and the world around us. In short, it makes life better.’ (Arts Council England, 2018). The choice of including verbatim within the show, and the seating providing accessibility, presents our company as inclusive of a wide demographic. Our show, I believe, meets the criteria to introduce and continue to offer the Arts to greater numbers of people, which is something Arts Council England are keen to support.
(Mason, 2018)
The original idea for the set contained white sheets on three of the sides of the auditorium to hang from the grid. An example of how they would look in the space is seen above in the video and the design below. This would enable the company to experiment with shadow puppetry while giving the space a comfortable feeling. Although this idea mimics a den and would be very homely, the desired feeling of intimacy would be a struggle to replicate in the auditorium of the Lincoln Performing Arts Centre due to its open space. It would remind an audience of the auditorium’s size, eliminating the relaxed atmosphere we are trying to create. Also, the sheets from the ceiling would be very restrictive because it would reduce our availability with lights, thus limiting the visual aesthetic of the show.
The company still wanted the possibility of having a sheet for comical effects, so I redesigned the set. The idea was to draw the eye to the sheet, to create the illusion of intimacy and closeness within the space while still keeping to the den theme.
The new idea is to have a sheet (only two metres tall) held up by poles inserted into water filled bases, with fairy lights connecting the sheet poles to two other poles closer to the audience. The poles will be extendable to allow enough space for the actors to go under the hanging fairy lights, and it will be easier for the company to travel with. The quick assembly of the set is important to me to allow the company to practice with the set in rehearsals, making sure that early on in the process that I can sort any issues if they arise. It also allows the set to be placed into a range of spaces, for example, community halls and studios. This gives our company the opportunity to tour our show to a range of venues and audiences who may not have the chance to see theatrical productions normally performed in theatres. This set includes the iconic items found in a bedroom (sheets, pillows, blankets, alarm clock, dreamcatchers and fairy lights) while also not distracting from the performance space. The items and staging promote a setting of a bedroom to the audience, which reminds them of a comfortable environment, intimate enough to explore the private and personal subject of sleep.
A.M
Works Cited:
alexander_kelly (2016) Setting up #Partus in the Crucible Studio. [image]. Available from https://www.instagram.com/p/BAacVBMmECo/ [accessed 21 March 2018].
Arts Council England (2018) About us. England: Arts Council England. Available from https://www.artscouncil.org.uk/about-us-0 [accessed 21 March 2018].
Mason, A. (2018) Sheets from the grid [ video].
Mason, A. (2018) Original Sketchup set design [image].
Mason, A (2018) Final Sketchup set design [image].
Third Angel (2017) Partus [live performance]. Performed by Third Angel. Lincoln: Lincoln Performing Arts Centre, 18 October.
