This white model I designed is from a course I took called "The Fundamentals of Theatre Design". For this project I had to read the play Medea and then build a white model of the scenery of her house that I would propose for a production of the play. The main point of the project was to use foam core and white paper, but I decided to take it a step forward creatively by adding materials like a bottle cap for the fountain, a hairspray cap for the well, popcorn for the bushes, and bobby pins as stands. The primary goal of the project, though, was to evoke the feeling I felt after reading the play through the architecture. It gave me vibes of decay, of hopelessness, and of settlement. Therefore, I cut around the house and made wholes to make it seem like the architecture is falling apart and has been neglected for years. This connects to the main character, Medea, as she is on a journey of decay as well; hence, her house lacks care and decays just like her. In contrast, the Chorus in the play, which consists of a group of unidentified characters providing commentary on the action, felt pristine and peaceful to me. So, I designed a pristine fountain and tall table for the Chorus to hang around on, so that it could represent their more stable state compared to Medea's turmoil. The garden and the well serve the purpose of the action in the play that would happen in the middle, giving the actors freedom with the blocking.
For BODY CONVOS: A DANCE SHOW in Cornell College
So I mentioned I made videos for the dance show called Body Convos in the section about editing and videos. However, I also worked with projections as an assistant on that same dance show. I was tasked with cueing up and running the projections for each single dance piece in the show. This required a lot of communication and a lot of Isadora Software! Also, up to this point, all the work I've done is on the stage, so it was pretty special to have this as my first moment in a tech crew.
I took a course called "Projection Design" in which I expanded my knowledge of Isadora even more. The video that you see on the side is the result of one of our projects in the class. This project consisted of designing projections for 3 scenes and 1 scene from your choice from "The Tempest" by William Shakespeare. The purpose of the project was to create a small piece of scenery with random objects, like how you can see in the video, and to also design the mapping for the projections, so I made the rectangular shape of the projection into every individual shape of the piece, like the cone, the clock, the box, etc.
This project comes from a course I took called "Sound Design". We did many projects in this course, but the one that I would consider one of my most successful ones is this one. For this project, we read a play called Meet Me At Dawn by Zinnie Harris, and then I had to create a sonic trailer based on my readings and feelings about the play. So, the audio attached is just that, a trailer meant to showcase the vibes of the play. I could've been linear, abstract, concrete, etc. I personally chose to go very abstract with it.
My favorite part about this project is that I managed to use inspiration from a worship song that I love called "Como Dijiste" since the play gave me a spiritual feel, as if God was very present in this play. I also liked the fact that the play always felt like you were being lied to, only to change course randomly and catch you off guard. The play would feel down to earth and then suddenly going to fantastical without any buildup. So, I used that feeling to make my trailer all over the place in regards to vibes and flow. For a moment, it is very calm, then suddenly you're caught off guard. This was an awesome class, and it definitely helped me learn more about sound so that I can apply it to more of my projects in my future and my career in general.
Since we chose as a group a kind of magical/fairy tale-like/horror feel to our version, I chose to make my proportions exaggerated and uncanny valley like. I chose this to demonstrate the intimidating physique Brom has, but also contrast that by giving him regular attire and a smile to give off the vibe that he is scheming and smarter than we the audience probably think. I also gave him no socks and rolled his sleeves because the story points out that he is always ready for a fight, or a prank, so I thought that detail would fight. This is a big example of how I dive deep into my choices to support the character.
For this costume rendering of Medea, I went all out with my fabric choices. During the period of Ancient Greece, green dye for clothing was considered rare, unless it came from vegetation. However, the problem with dye from vegetation is that as time passes, it decays into a brownish color, like plants do. So I decided to add that decaying texture to Medea's himation because her character experiences an emotional decay during the story. Beneath, the himation, she has a second piece of clothing called a chiton made of silk, very bright yellow. Silk was not a thing in Ancient Greece, but I decided to give her that because of her connection to Helios, the Sun God. Making Medea feel unlike the others and more special. The moment when the chariot comes would be when she reveals her full yellow chiton, revealing her true self.
This rendering was the most challenging regarding the draping of the clothes. The cloak (Chlamys) that Jason has on curves around his arm, revealing the back side of the piece of clothing. It was pretty interesting working with darker shades of blue to shade the back sides of that clothing. The robe (Chiton) was even more challenging because it is held by a belt, which creates the draping. It is also proportionate to the positioning of the feet. So yeah, I had to add a lot of curves to the robe to make it look real. I gave Jason a blue cloak because he is sort of like a celebrity figure, and blue was a very rare dye in Ancient Greece. However, I contrasted that with the white robe because, beneath everything, Jason is a standard guy, and white is, of course, a very plain common color. This was definitely my favorite rendering.
For Creon, I wanted to highlight his power and social status. Back then, during Ancient Greece, the rarest color of dye was purple, so if you saw a guy wearing purple, odds are he was a king or was at the top of the hierarchy. So, I gave Creon the whole purple fit to put that status at the forefront, making him look like a figure that wants everybody to know that he has the important vote and all the power. The piece of clothing he has is a Himation, which, if worn well adjusted, also meant you were high in the hierarchy. That is why you don't see a messy Himation on Creon, it is wrapped well around his body. I also couldn't forget a laurel crown for Creon, after all, he rules Corinth!