Hi, I’m Wendy Dann, I’m a freelance director and I teach directing at Ithaca College. I’m really moved by your research of the bombed-out buildings in Yemen and the rubble…combined with the quotation at the end. Really strong imagery
David your work on this is fascinating and surprising. I was initially drawn to your art, how in the face of so much destruction there is still, if not hope, some force that is struggling to exist within the annihilation. You’re research and analysis point to the world that created this tragedy rather than the psychological state of the characters; which effectively humanizes these traditionally demonized people. Doing this has also made a Medea for 2020, incredible!
David!
Thank you for such a striking, complete, intriguing take on Medea.
I often respond first to the visuals of a project. The contrast of lacy architectural detail in the UNESCO world heritage site in the old city of Sana, and the destruction was arresting. Further, the mood boards you went on to create paired with your world description created a clear, very physical space. I was most struck by this segment: “However, like the rest of this world, the flag is in the process of being destroyed, shredded, and burned. In its effort to destroy it will never rest until it, too, is annihilated, leaving only nothingness behind. One can only hope that out of this nothingness, something will be able to grow.”
The translation of script to visuals, back to concept is impressive. Great work!
A comment of yours describing an image you chose resonates: “Like in the war between Jason and Medea, nothing is left sacred.” Your response to the play is profound and visceral, and the photos you’ve found absolutely depict that juxtaposition between what was once beautiful and is now desecrated and destroyed. It’s a fantastic place to begin to encapsulate your feelings about the play in a strikingly visual way.
I really love your set design collage! The apartment-building style walls are extremely evocative of ancient Roman architecture, despite being entirely modern. I think it’s a brilliant infusion of modern spunk while still leaning deeply into this ancient style. I’m also drawn to the tower in the center with the flag on top. It raises a lot of questions in the viewer: does the tower move, or is it stationary? Will it be incorporated into the movement of the actors? What does the flag is on top look like, and what political statement might that be making?
I also LOVE your found object version of Medea’s chariot. From first glance, there’s no doubt that this is a CHARIOT. It’s clearly an object of power, which is quite difficult to evoke through found objects, so I really commend you for that. I think your use of the dragon head at the front and the color choices of the red/gold/purple were very clever and contributed a lot to the overall effect. I also just love you sitting it in with a sword – it certainly adds a lot to the image, and helps the viewer clearly imagine the full spectacle of Medea entering. Great work!
David Reingold Medea scenic model
Hi, I’m Wendy Dann, I’m a freelance director and I teach directing at Ithaca College. I’m really moved by your research of the bombed-out buildings in Yemen and the rubble…combined with the quotation at the end. Really strong imagery
David your work on this is fascinating and surprising. I was initially drawn to your art, how in the face of so much destruction there is still, if not hope, some force that is struggling to exist within the annihilation. You’re research and analysis point to the world that created this tragedy rather than the psychological state of the characters; which effectively humanizes these traditionally demonized people. Doing this has also made a Medea for 2020, incredible!
David!
Thank you for such a striking, complete, intriguing take on Medea.
I often respond first to the visuals of a project. The contrast of lacy architectural detail in the UNESCO world heritage site in the old city of Sana, and the destruction was arresting. Further, the mood boards you went on to create paired with your world description created a clear, very physical space. I was most struck by this segment: “However, like the rest of this world, the flag is in the process of being destroyed, shredded, and burned. In its effort to destroy it will never rest until it, too, is annihilated, leaving only nothingness behind. One can only hope that out of this nothingness, something will be able to grow.”
The translation of script to visuals, back to concept is impressive. Great work!
Hi David,
My name is Pam Berlin and I’m a director.
A comment of yours describing an image you chose resonates: “Like in the war between Jason and Medea, nothing is left sacred.” Your response to the play is profound and visceral, and the photos you’ve found absolutely depict that juxtaposition between what was once beautiful and is now desecrated and destroyed. It’s a fantastic place to begin to encapsulate your feelings about the play in a strikingly visual way.
really nice work. Yemen images really powerful.
BB
Hi David!
I really love your set design collage! The apartment-building style walls are extremely evocative of ancient Roman architecture, despite being entirely modern. I think it’s a brilliant infusion of modern spunk while still leaning deeply into this ancient style. I’m also drawn to the tower in the center with the flag on top. It raises a lot of questions in the viewer: does the tower move, or is it stationary? Will it be incorporated into the movement of the actors? What does the flag is on top look like, and what political statement might that be making?
I also LOVE your found object version of Medea’s chariot. From first glance, there’s no doubt that this is a CHARIOT. It’s clearly an object of power, which is quite difficult to evoke through found objects, so I really commend you for that. I think your use of the dragon head at the front and the color choices of the red/gold/purple were very clever and contributed a lot to the overall effect. I also just love you sitting it in with a sword – it certainly adds a lot to the image, and helps the viewer clearly imagine the full spectacle of Medea entering. Great work!