So, one of the big questions as set designer (and everyone else for that matter) is -- how do we get from one place to another with ease and... grace? The massive number of locations presents itself as quite a challenge for me; making each scene uniquely descriptive and encapsulating of that place's essence, how? Perhaps that difference can be developed during each scene, so that by the moment when the next scene approaches, all is ready to maintain the flow of the play.
What I'm trying to say is: people on stage all the time, working on scene changes while other scenes are happening. So that stagehands are actively a part of what's happening on stage and, shall we say, becoming a representation of Samantha's unconscious mind by constantly developing her next step?
What do you think?
I think that's a really interesting idea, as long as it doesn't distract from what is going on onstage. One thing that I need to really figure out is the psychological structure of the play, and what it says about our unconscious/hallucinatory (not subconscious, that's a misnomer!) minds. I'm reading a book on the stream of conscious structure of "Ulysses" right now, which I hope will give me more guidance.
ReplyDeleteThis transitional idea could create a blur between each scene that reflects that feeling we get when we arrive somewhere and think "how did I even get here?" And maybe not every scene has to transition in the same way. For instance, I want to see that long walk through the rain to the maternity ward. But I definitely think that, no matter what, the transitions will be huge. I think we learned from "The Normal Heart" that so much can be said during transitions.
I knew you'd say that about "subconscious"... and I almost didn't use that word too.
ReplyDeleteBut yes, when you find interesting things in that book about Ulysses, please share.
I was sort of pondering the idea of construction or deconstruction. I'm not sure to what extent it's relevant or how. Are we building something? In scene 2, the Young Man says:
"Deconstruct your protected world of illusions."
Right now, it's hard for me to see the change in her reality... Does that quote mean something? Does she do that by the end of this play? Maybe she sees Jewel's world more clearly than her own, and she wants to take her out of that club to help her 'deconstruct her world of protected illusions'.
I can feel the exposure of her inner world, but a physical deconstruction, I'm not so sure about.
Thoughts?