Hello!
My name is Kendrick and I am a Scenic Designer.
I wanted to commend you on your detailed text analysis! I can clearly see how your analysis of “class structure” influenced your scenic research.
One thing I would say you are missing is the sentence: “I’m choosing to set Medea in (insert location) and here is why”. Then, use your text analysis to justify your decision. Once you have that statement, have your mood boards support your decision, and allow your research to add additional context.
Hi, I’m Wendy Dann, I’m a freelance director and I teach directing at Ithaca College. Loving the Erddig room research here…the window, the indoor/outdoor feeling, the long table, the availability of knives and blood…
Hi Crystal – Paul Miller here.
Excellent text analysis here I think… and the thoroughness of that clearly ‘translates’ to the research you’ve shown. Well done.
I am fascinated by your research. It’s intriguing–but what I’m most interested in is knowing why you’re drawn to the photos you’ve chosen, and in what way they speak to the meaning of the play for you, both in literal and nonliteral ways.
Hi there–I’m Jennifer Werner (Director/Choreographer). Really in-depth analysis of Medea’s psyche/history/social context. Would love to see how that more clearly informs your mood board/images and research photos.
Hi Chrystal
I teach design/pop culture at the University of Regina and have worked as a freelance designer across western Canada for some years. I will echo what some of the others have said about the depth of your analysis and one phrase particularly struck me – “something private made public. The events of Medea are the intimate details of a house”. The fact that Medea is forced to “perform” her grief, her madness, her anxiety in public adds to the humiliating position she finds herself in and I think this could inform both acting and directing choices. You do argue that Medea participates in her own “self destruction” but I would caution against reading the ending as tragic. Your analysis of phase shift hits far too close to home, there was a time before Covid-19 and now there isn’t and we will never know that pre-Covid-19 world again. Enough rambling…I really enjoyed the images you’ve sourced around “the house/domestic spaces” I don’t know if they always connect with the desolation you also suggest but I think there is something satisfying in the juxtaposition you’ve created. So many of your images have an other worldly feeling to them that again the very real domestic images give you a great contrast and jumping off point which allows Medea (the woman and the production) to occupy a liminal space between worlds, situations, mortalities.
Hi Crystal! Great work. I’m excited to see how the play between indoor and exterior can continue to play on stage, and the blend of emotional and real space from your work. Good job!
Love everything you’re doing here! The images of your found object chariot are front and center and I was immediately really taken by the cool, surrealist look of it. It looks like something out of a Heironymous Bosch painting, and I love the incorporation of practical lights into the design.
I feel like there’s also some of that same surrealism present in your moodboards that really helps generate that sense of turbulence and unease in the viewer. I also wanted to incorporate the ocean into my set! And I can really easily see how your idea of “something private made public” translated to your research and later your collage. Really smart to look for interiors and very homey spaces to communicate Medea’s sphere of influence. I also think it would be interesting to see how the space shifts from interior to exterior at the end of the play, as you said!
Hello!
My name is Kendrick and I am a Scenic Designer.
I wanted to commend you on your detailed text analysis! I can clearly see how your analysis of “class structure” influenced your scenic research.
One thing I would say you are missing is the sentence: “I’m choosing to set Medea in (insert location) and here is why”. Then, use your text analysis to justify your decision. Once you have that statement, have your mood boards support your decision, and allow your research to add additional context.
Good work!
Hi, I’m Wendy Dann, I’m a freelance director and I teach directing at Ithaca College. Loving the Erddig room research here…the window, the indoor/outdoor feeling, the long table, the availability of knives and blood…
Hi Crystal – Paul Miller here.
Excellent text analysis here I think… and the thoroughness of that clearly ‘translates’ to the research you’ve shown. Well done.
Hi Crystal,
My name is Pam Berlin. I’m a director.
I am fascinated by your research. It’s intriguing–but what I’m most interested in is knowing why you’re drawn to the photos you’ve chosen, and in what way they speak to the meaning of the play for you, both in literal and nonliteral ways.
Hi there–I’m Jennifer Werner (Director/Choreographer). Really in-depth analysis of Medea’s psyche/history/social context. Would love to see how that more clearly informs your mood board/images and research photos.
Hi Chrystal
I teach design/pop culture at the University of Regina and have worked as a freelance designer across western Canada for some years. I will echo what some of the others have said about the depth of your analysis and one phrase particularly struck me – “something private made public. The events of Medea are the intimate details of a house”. The fact that Medea is forced to “perform” her grief, her madness, her anxiety in public adds to the humiliating position she finds herself in and I think this could inform both acting and directing choices. You do argue that Medea participates in her own “self destruction” but I would caution against reading the ending as tragic. Your analysis of phase shift hits far too close to home, there was a time before Covid-19 and now there isn’t and we will never know that pre-Covid-19 world again. Enough rambling…I really enjoyed the images you’ve sourced around “the house/domestic spaces” I don’t know if they always connect with the desolation you also suggest but I think there is something satisfying in the juxtaposition you’ve created. So many of your images have an other worldly feeling to them that again the very real domestic images give you a great contrast and jumping off point which allows Medea (the woman and the production) to occupy a liminal space between worlds, situations, mortalities.
Nice work!
Really nice and thorough work.
Hi Crystal! Great work. I’m excited to see how the play between indoor and exterior can continue to play on stage, and the blend of emotional and real space from your work. Good job!
Excellent. Strong, unique, rich and informative.
Hey Crystal!
Love everything you’re doing here! The images of your found object chariot are front and center and I was immediately really taken by the cool, surrealist look of it. It looks like something out of a Heironymous Bosch painting, and I love the incorporation of practical lights into the design.
I feel like there’s also some of that same surrealism present in your moodboards that really helps generate that sense of turbulence and unease in the viewer. I also wanted to incorporate the ocean into my set! And I can really easily see how your idea of “something private made public” translated to your research and later your collage. Really smart to look for interiors and very homey spaces to communicate Medea’s sphere of influence. I also think it would be interesting to see how the space shifts from interior to exterior at the end of the play, as you said!