Richard Foreman is a man that envisions a symbiosis amongst the several elements of a piece that he can translate through his designs. Critiques and patrons of theater have considered his work a mixture of surrealism, dada, futurism, heavily emphasized through symbolism. He envisions a set where the authors mind is morphed by the elements encompassing the stage. His designs express simplicity without using cliche models. Foreman likes to use frames to express the film reel like lives we see everyday. Those mind frames of thought he wishes to express are done by creating a space on stage expressing layers. These layers represent the complexities of everyday life.
Foreman takes a script for what it is and tries to personify its themes and conflicts with not only the actors and props but what those props do to leave an impression on the audience. He mentions the space between the stage and the 4th wall; he wishes to create an ever changing environment that can somehow mesh the show into the audience's reality. His use of string on stage shows how the layers interconnect and create the connections between every aspect of the stage. His "why not" methods show his Dada influence and how it turns the stage into a representation of the thought processes of the mind.
Perspective is also a huge influence in Foreman's designs; he likes to use the space to highlight scenes that express the perspective characters have on stage. Ultimately, Foreman wishes to have a space the could conform to his current mind set. His attention to aesthetics is shown by the materials like Plexiglas, string, colors, in his productions. The props he uses stir up and energy that creates a pull on the audience; to direct their gaze of the stage in line with the events unfolding the play. That energy is his goal to mediate. Not only does this enhance the affects of the play on the audience, but appeals to the audiences eye; an accomplishment that keeps the audience focused throughout the entire show.
Tuesday, June 2, 2009
Jorge Luis Borges "Poets Creed"
- One reads what one likes, and one writes, not what one would like, but what one is able to write.
- In reading we seem to have the ability to transcend and to stretch beyond ourselves. In writing it seems that we are limited by our own talents, and experiences.
- Borges remembers back to his father's library and recalls stories not by there actual content, but how they made him feel.
- One of Borges definitions of humanity is that to be human is to live in the past and the future, to know a time before one is born, and a time that occurs after ones death.
- Another definition of humanity seems to be able to see yourself, face to face, and know. Perhaps an ecstatic truth, one that gives illumination?
- As a poet, Borges favors being the reader. It seems easier and in my opinion it is. The writing part, and which is a part of Borges Creed is that writing is troublesome and painful.
- "I suppose young men are found of unhappiness, they do their best to be unhappy, and they generally achieve it." A great quote, and it is very clear inside this classroom.
- In poetry everything is feeling.
- To repeat the last two lines of a play or poem, gives the second repeated line more weight. There is a thickening of meaning.
- The mistake that free verse is easier than structure. When, structure actually frees you by making your job easier. You just plug in your ideas into a form. In free verse you must construct everything from scratch.
- The art of hiding and writing as others do, pretending to write in an old "style"
- Borges finds that we are all contemporary. Because, we all exist now. You cannot get away from it.
- "What does being a writer mean to me? It means being true to my imagination."
- Stories as dreams or ideas, not factual re-accounts. Facts are just a web of accidents and circumstances.
- Be loyal to the dream not the circumstance.
- Poetry can harbor laziness, or idle writers. It's easier to hint at something than to write a novel about it.
- Finally he state that he has not real creed and that he only has a few precautions and misgivings.
- In reading we seem to have the ability to transcend and to stretch beyond ourselves. In writing it seems that we are limited by our own talents, and experiences.
- Borges remembers back to his father's library and recalls stories not by there actual content, but how they made him feel.
- One of Borges definitions of humanity is that to be human is to live in the past and the future, to know a time before one is born, and a time that occurs after ones death.
- Another definition of humanity seems to be able to see yourself, face to face, and know. Perhaps an ecstatic truth, one that gives illumination?
- As a poet, Borges favors being the reader. It seems easier and in my opinion it is. The writing part, and which is a part of Borges Creed is that writing is troublesome and painful.
- "I suppose young men are found of unhappiness, they do their best to be unhappy, and they generally achieve it." A great quote, and it is very clear inside this classroom.
- In poetry everything is feeling.
- To repeat the last two lines of a play or poem, gives the second repeated line more weight. There is a thickening of meaning.
- The mistake that free verse is easier than structure. When, structure actually frees you by making your job easier. You just plug in your ideas into a form. In free verse you must construct everything from scratch.
- The art of hiding and writing as others do, pretending to write in an old "style"
- Borges finds that we are all contemporary. Because, we all exist now. You cannot get away from it.
- "What does being a writer mean to me? It means being true to my imagination."
- Stories as dreams or ideas, not factual re-accounts. Facts are just a web of accidents and circumstances.
- Be loyal to the dream not the circumstance.
- Poetry can harbor laziness, or idle writers. It's easier to hint at something than to write a novel about it.
- Finally he state that he has not real creed and that he only has a few precautions and misgivings.
Reading Notes
Update on the reading notes. So far we've posted 5 different readings, so we've got 5 left guys. Reply in the comments which reading you want to work on if you haven't posted one yet.
Reading Notes that are done:
"Behind the Screen Door" - Jimmy
"World on Stage" - Allie & Keith
"Can Theater and Media Speak the Same Language?" - Kira & Keith
"Directors and Designers is there a Different Direction" - Nate
"The Stage as Dangerous machine" - Allie
Reading's not done:
"The Metaphor"
"Poet's Creed"
"Richard Foreman as a Sceneographer"
"Scenography as a Machine"
"Use of Mettapatterns"
Reading Notes that are done:
"Behind the Screen Door" - Jimmy
"World on Stage" - Allie & Keith
"Can Theater and Media Speak the Same Language?" - Kira & Keith
"Directors and Designers is there a Different Direction" - Nate
"The Stage as Dangerous machine" - Allie
Reading's not done:
"The Metaphor"
"Poet's Creed"
"Richard Foreman as a Sceneographer"
"Scenography as a Machine"
"Use of Mettapatterns"
Monday, June 1, 2009
Directors and Designers is there a Different Direction: Notes by Nate
There is often tension between directors and designers during a production. Many directors are seen as the head of a production but in reality they are the head of only half. As described in Directors and Designers is there a Different Direction designers often have to take the role of a 'wife' figure, having to word questions to the likes of "how do YOU think this would look?" in order to gain a response from directors who have the innate need to be in charge of every aspect of a production.
The year 1911 in Germany was a great year for theater. For the first time plays were mixed in with music costumes and intricate colorful sets that were designed for specialists. However, also stemming from this breakthrough was the commonly notion that the designers served the directors. But in 1988 this issue was addressed by The Society of British Theatre Designers as they stepped forward to announce that a change in the artistic collaboration between director and designer must change.
Pamela Howard calls for this change in her article stating that designers should become "architects of the space and the space itself becomes a major player in the production. This is becoming a reality as many designers are becoming just as well recognized as directors and with the new technology available to theaters for creating outstanding sets, this trend can only increase.
-Nate Murphy
The year 1911 in Germany was a great year for theater. For the first time plays were mixed in with music costumes and intricate colorful sets that were designed for specialists. However, also stemming from this breakthrough was the commonly notion that the designers served the directors. But in 1988 this issue was addressed by The Society of British Theatre Designers as they stepped forward to announce that a change in the artistic collaboration between director and designer must change.
Pamela Howard calls for this change in her article stating that designers should become "architects of the space and the space itself becomes a major player in the production. This is becoming a reality as many designers are becoming just as well recognized as directors and with the new technology available to theaters for creating outstanding sets, this trend can only increase.
-Nate Murphy
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