A Creative Research on Stage Space Design of Machinal And What Would Crazy Horse Do? Plays
The Machinal and What Would Crazy Horse Do? Plays aim to make sense of formal collaboration, for both past and present. This paper will focus on a fantastic discussion that touches my ideas and work in theater art deeply. Theatre space is in different kinds, such as proscenium, thrust, arena, and found space theatre. This original research will examine that plays, What Would Crazy Horse Do? and Machinal, by putting it into an argument with the design. I will be placing my focus mainly on the stage space, function for each play, how the feature of the area fits the genre of both plays, the features work for each play, and the unique features of the play. I will argue that these spaces are the vehicle for both Sophie Treadwell’s silence voice and Larissa Fasthorse in production. This paper will also investigate Machinal features that as well as how it fits the theatrical genre of expressionism.
From emotive moments to harsh words, both machinal and what would crazy horse do are perfect for a tennis court stage type of theatre experience. For our audience members to be close and personal with our actors is something that my direction requires with all of the different unforeseeable moments of the design. Our goal is that of audience members undergo something unique (Hamblin & Bay, 2017). Audiences will be able to engage fully within the genre by illuminating our culture and controversial adaptation of the exemplary plays. To Studying expressionism and theatre of brutality, the production would involve objects from intimacy seating, unpredicted lighting characteristics, and non-classified metaphorical periods.
The space of What would crazy horse do play will be the main room, will appear with old mismatched furniture, piles of objects which no longer essential, but they can’t be parted with line walls. There are strewn here and there feathers, dried plants, tobacco, rocks, bits of bleeding, and a leather medicine bags (Hamblin & Bay, 2017). For Machine play, the stage space will appear with multiple episodic nature of this play. The first episode will look at the business, and we decided to put the office of the publishing newspaper company. Episode 2, will be at home; the stage will appear like downtrodden or a rundown home because Hellen and her Mother are not able to afford an expensive house (Hamblin & Bay, 2017). Honeymoon’s episode will be in a way it reflects the cheap hotel. The episode of maternal the stage will be represented with an impeccably clean maternal hospital. Episode 7, the stage space, will have a living room of George H. Jones and well demonstrated and a telephone within it. The lighting is harsh for a typical courtroom; everything inside it will be organized and functioning correctly as it should be. The last episode and that is about the Machine the stage has to be a black jail, echoing and scary, and anything in this space is harsh, metallic, and cold. It should also have no light in this space.
Features of the space will make both plays to function correctly. Machinal the use of projections and shadows employed the design of space play as the backdrop. This is to assist in creating an atmosphere. We used intimate space that makes us achieve a claustrophobic environment expressed in the play. To making it achievable, the effects of scaffolding were erected in the auditorium, enclose the audience (Hamblin & Bay, 2017). To creating a harsh and stark world, the set was built of steel, corrugated panel, and expanded metal. However, the acting space was to be on apron of the stage. This was to bring the action near the audience. Such elements were essential in creating the bleak mechanical world and the intimate and claustrophobic surrounding that was needed for production. What Would Crazy Horse Do? The play had to use leather, known as saddle leather. It was created by applying a particular type of wax to make it smooth, and this was to help enhance the fibers of the leather when scratched and also the wax changes the nature of the leather to give it an antique look (Hamblin & Bay, 2017). This play is full of Native experience and subverts expectations to make production successive, we it must be centered with Native bodies and voices by locating them inside theatrical cannon, this will help by establishing good sounds. The pile of rocks inside the room was to represent the pieces blown from the sacred mountain. To achieving the creation of impressive support for the memorial, the ceiling was hung with dozens of flags from tribal nations over the country.
Features of space fit the genre of modernism, expressionism, and episodic structure of Machinal play. This genre was represented with imbues of scenes with disorders and chaos. Features were promoted by the use of modern sounds, needless reputations or telegraphic of speech and exaggerated linguistic clichés or shape, abnormal coloring, and mechanical movement. This technique is mostly used to lead audiences beyond environmental appearance (Hamblin & Bay, 2017). We indicated everything with the eyes of the protagonist; this is to make sure it alters emphases and impose drastic interpretation upon the occasion (Naish, 2018). The director creates an environment that reflects the emotions and central point of the Youth woman with the primary scenic goal. Projection of lighting and casting of the shadows.
Director hopes that the shadow could move at specified points, for example, in the episode of law, having shadows in the courtroom. The projection of light is essential in establishing the moods. The significant space for this is in the scene with lovers, when Hellen found her passion and happiness. To contrast the menace of the courtroom and execution as well as the machine world (fast-moving mayhem), we need things that are brighter and more cheerful. The separation of the stage made us reconfigure for each episode, and minimalism of furniture all fit the vision for production and function well with other production elements (Hamblin & Bay, 2017). Along the film, the focus on the traditional architecture it also draws the attention in producing. To create the electric chair and placed downstage center for the final episode, there is a need for adding a metal cube to the section of walls. In What Would Crazy Horse Do Film To give the audience the best moment we patterned lighting effects and shapes of the furniture; this was done by amplifying details in the choreography. Lighting was also used to emphasize a particular part of the body and to showcase the intricacy and correctness of the scene. The roadside attraction placed in the space offers a vision of American history that developed uncanny. The restructure, the lines were constructed and abstracted the walls in different units. This was to create the extreme angles and looming, as well as claustrophobic effects (Naish, 2018). To build a sense of the location of the film without depending on realistic furniture, it requires the different arrangements of each scene. Since the site of the memorial is in the Black Hills, which is sacred to the Lakota, here there is no one allowed to take a photograph so to meet the production of the scene, one must work from the physical description and creative fantasy to come up with the image and to fit the genre of cultural activities. In the production of this film, one mask was used to create the genre of expressionism.
The common feature was used as the projection of lighting. The use of light by scene or projector is the aim of the producer to communicate the ideas and moods, educate the audience. The lighting function by bringing the genre of happiness this was shown in Machinal, for the What would crazy horse Do film was to create the mood of the culture. In both plays, the expressionism was the major form of that was develop in all genres of the art; this was noted from architecture and painting to scene, literature, and theatre. The transformation of culture was decisively by applying expressionism in both films (Naish, 2018). This was used in involving expressionism articulated distinguished opinions on aesthetics and the aim of the movement. The lighting was used to incorporate warning messages and negative emphasis on the audience. The audience was able to learn the performance as an expressionist text about; they were able to do so by the suppressing of tradition mimetic function and in the production of an expressionist foregrounded body of actors and voices (Naish, 2018). The audience to see the world from different viewpoints the art comfort a social problem. The most audience is powered to be part of theatre when both melodramatic and naturalistic style is used at the period. Expressionism is important because it embodies objects and ideas.
The unique feature in the space of What would A horse do is music instrument. It was used for the symbol of Indian music to strengthened the visual learning of the audience through drawing, sculpting, and painting (Gonzalez, 2019). Employing playing of the piano in production enhances the reasoning in a precursor to logic thinking compared to Machinal, which was noninstrumental. The audience is also equipped with an abstract of thinking and problem solving, which is required for creative thinking (Gonzalez, 2019). The audience was connected with deferent cultures through music instruments; they also developed visual imagery about the history of Young Woman killing a man. Music instrument-assisted in creating skills about the concept of cultural diversity (Gonzalez, 2019). The audience is connected and feel the culture through the playing of music. It also functions as communication of the emotional heart of the action and the feeling. The audience is brought into the inside working part of the character when the song is played.
In conclusion, theatre is a multimedia and multipurpose activity to express the human requirement, dreams, and desire. It involves the mix of music, dance, and imitation or acting for it to perform and indicate. In production, the objectives are spiritual, social, learning, and entertaining. However, space of theatre scope from designs to actors themselves to the objects utilized in the scenery, costumes, lighting, and sounds. Théâtre space I production takes place in a building which specifically designed for the purpose.
References
Gonzalez, J. B. (2019). Directing High School Theater: The Impact of Student-Empowerment Strategies and Unconventional Staging Techniques on Actors, Director, and Audience. Youth Theatre Journal, 13(1), 4–22. https://doi.org/10.1080/08929092.1999.10012502
Hamblin, J., & Bay, H. (2017). Stage Design. Educational Theatre Journal, 27(1), 141. https://doi.org/10.2307/3206367
Naish, P. D. (2018). Space and the Postmodern Stage, and: Space in Performance: Making Meaning in the Theatre (review). Theatre Journal, 54(3), 508–510. https://doi.org/10.1353/tj.2002.0092
Perkins, K. A., & Uno, R. (1996). Contemporary Plays by Women of Color (Vol. 191). New York: Routledge.
Treadwell, S. (1993). Machinal, (p. 532). N. Hern.