https://jidaakil.com Jida Akil Theatre Design Sun, 06 Jun 2021 13:13:31 +0000 https://jidaakil.com en https://jidaakil.com/CSM-ALIVE Sun, 04 Apr 2021 18:56:02 +0000 Jida Akil Theatre Design https://jidaakil.com/CSM-ALIVE ︎︎︎BACK TO PORTFOLIO <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/6643ad6b20cc94c6f48054d3e0d6f568748a6ece3f60b964e593fdd148bc2397/Screenshot-2021-06-01-at-10.35.38.png" data-mid="110494386" border="0" src="https://freight.cargo.site/w/1000/i/6643ad6b20cc94c6f48054d3e0d6f568748a6ece3f60b964e593fdd148bc2397/Screenshot-2021-06-01-at-10.35.38.png" /> CSM ALIVE: The outcome is a 10 min multi-media dance performance piece including set, costume, and projection design. The conceptual enquiry is how to take negative lived experience and turn into a productive creative output. In terms of my practice, I am exploring how to create a performance as a design-led devising process (looking at how to be the lead artist assembling a creative-team and creating a collaborative environment as a flat hierarchy). Additionally, I am exploring the creation of a sensory experience that can be exprienced both live and through recorded performance by experiemtning with how digital &amp; physical space,performers, and audience can be merged.<img width="1788" height="398" width_o="1788" height_o="398" data-src="https://freight.cargo.site/t/original/i/61de9054c6522d507cddde0b3d020e1eac92eb0a17e13619d3629ac2810fba3b/Screenshot-2021-06-06-at-12.38.42.png" data-mid="110494390" border="0" src="https://freight.cargo.site/w/1000/i/61de9054c6522d507cddde0b3d020e1eac92eb0a17e13619d3629ac2810fba3b/Screenshot-2021-06-06-at-12.38.42.png" /> Please click on the below tabs to view the project: https://jidaakil.com/Research-4 Sun, 04 Apr 2021 18:59:16 +0000 Jida Akil Theatre Design https://jidaakil.com/Research-4 RESEARCH&nbsp; for full collection of visual research, please refer to this pinterest page When I first got the vague idea for what became my CSM ALIVE piece, the starting point was the vision of a cycle.&nbsp; I, myself, was stuck in a viscous cycle at the height of the first wave lockdown in spring 2020 feeling the desire, THE NEED, to be productive but not having an outlet to do so. In the panic of feeling like my personal practice was being stripped from me and the uncertainty of the industry ever opening up again, I changed my outlook and decided to create a piece that directly addressed and challenged the cycle I was trapped in. For the sake of my own sanity really, I began doing a series of doodles, sketches, illustrations, over the spring-summer of 2020 everytime I felt a particularly prominent emotion relating to the lockdown cycle we were in. To view the full series click here. These are some examples:&nbsp; The emotions I tried to capture in these were: paranoia, greif, confusion, spiralling, melancholy, optimism, fear. This became an exercise in accumulating different emotions that wove into a cycle of repeated emotions. As we hit the second wave of the pandemic, I began to realise that the cycle was repeating itself, except everytime we inched towards optimism we would spiral back to the start of the viscious repitition.&nbsp; Next, I started collecting visual imagery that I felt resonated with this concept of a cycle. I came across the artist/photographer Gilbert Garcin’s, who’s stark &amp; bold compositions captured the notion of a journey with no clear end and the idea of entangling oneself in an inescapable circumstance. I was also interested in the relation of the subject &amp; the space in his compositions, how there is a direct interaction &amp; reaction between one and the other.&nbsp;<img width="1580" height="1220" width_o="1580" height_o="1220" data-src="https://freight.cargo.site/t/original/i/a5e0ea239e28d141d63dae5b0c0c08bd88208dc9ce23ffe7c2fadd0284607a5d/Screenshot-2021-06-06-at-13.16.08.png" data-mid="110495667" border="0" src="https://freight.cargo.site/w/1000/i/a5e0ea239e28d141d63dae5b0c0c08bd88208dc9ce23ffe7c2fadd0284607a5d/Screenshot-2021-06-06-at-13.16.08.png" /> Next, I began to look at movement &amp; performances in relation to my observations/experiences in lockdown to begin visualising how they could come to life.&nbsp;This research started as an interrogation of the shift from social networks to fragmention to forced isolation. This included:&nbsp; -English National Ballet: Lest We Forget -Hussein Chalayan: Gravity Fatigue -Nancy Brooks Brody: Merce Drawings <img width="1578" height="1224" width_o="1578" height_o="1224" data-src="https://freight.cargo.site/t/original/i/20ec60415c6bd1bfe7ecb73134001af7f2f52da1de098f01fba4e35b169c8ff2/Screenshot-2021-06-06-at-13.23.07.png" data-mid="110496076" border="0" src="https://freight.cargo.site/w/1000/i/20ec60415c6bd1bfe7ecb73134001af7f2f52da1de098f01fba4e35b169c8ff2/Screenshot-2021-06-06-at-13.23.07.png" />I then look at my visual research of performances as prompts for stream of consciousness writing that verbalised my feelings of being in lockdown. You can read the full series of poetry &amp; texts here <img width="1574" height="1218" width_o="1574" height_o="1218" data-src="https://freight.cargo.site/t/original/i/dc82aabd8891adf3cc2055ad940d5c8f4e953eb5837242ad150af6f0d675ff5f/Screenshot-2021-06-06-at-13.43.15.png" data-mid="110496637" border="0" src="https://freight.cargo.site/w/1000/i/dc82aabd8891adf3cc2055ad940d5c8f4e953eb5837242ad150af6f0d675ff5f/Screenshot-2021-06-06-at-13.43.15.png" /> At this point in the research process, Maya Ross Russell joined the creative team. I felt that, while I wanted to approach this project as the lead artist, my skill set was geared towards visual dramaturgy. I knew I would need to collaborate on the creation of the narrative so Maya initially joined as the Director/Dramaturg. Based off my research so far, I was leaning towards a movement-based performance that was led by the visuals. But Maya and I also wanted to interrogate how we could incorporate the text I had written, and the ones she wrote, as a dance theatre piece.&nbsp;<img width="1574" height="1218" width_o="1574" height_o="1218" data-src="https://freight.cargo.site/t/original/i/05d5137592c184af3a5148430ebf130e532280a7e2b59a21ff0a328cc358ec81/Screenshot-2021-06-06-at-14.01.31.png" data-mid="110497371" border="0" src="https://freight.cargo.site/w/1000/i/05d5137592c184af3a5148430ebf130e532280a7e2b59a21ff0a328cc358ec81/Screenshot-2021-06-06-at-14.01.31.png" /><img width="1574" height="1220" width_o="1574" height_o="1220" data-src="https://freight.cargo.site/t/original/i/cd3e1bd5b889b1e55a26aa0fd6575dacd047f495352eb15f2a9bb627c9bc66cf/Screenshot-2021-06-06-at-14.01.13.png" data-mid="110497370" border="0" src="https://freight.cargo.site/w/1000/i/cd3e1bd5b889b1e55a26aa0fd6575dacd047f495352eb15f2a9bb627c9bc66cf/Screenshot-2021-06-06-at-14.01.13.png" /><img width="1570" height="1214" width_o="1570" height_o="1214" data-src="https://freight.cargo.site/t/original/i/06eb8a7019c7bf708948ace31afe6556e44e4b3fd9b1ba27852489b4fcf24e18/Screenshot-2021-06-06-at-14.01.24.png" data-mid="110497373" border="0" src="https://freight.cargo.site/w/1000/i/06eb8a7019c7bf708948ace31afe6556e44e4b3fd9b1ba27852489b4fcf24e18/Screenshot-2021-06-06-at-14.01.24.png" /> <img width="948" height="1212" width_o="948" height_o="1212" data-src="https://freight.cargo.site/t/original/i/c7c1db5c41eb04f8d3327eb323041773baeab3305dac6076f47abd5832a1fe30/Screenshot-2021-06-06-at-13.02.22.png" data-mid="110495102" border="0" src="https://freight.cargo.site/w/948/i/c7c1db5c41eb04f8d3327eb323041773baeab3305dac6076f47abd5832a1fe30/Screenshot-2021-06-06-at-13.02.22.png" /> <img width="814" height="1124" width_o="814" height_o="1124" data-src="https://freight.cargo.site/t/original/i/6f5e4657ef4833061d7f9f86754b18d6a76cee6fb3048b3b13a8a635f2ef79a5/Screenshot-2021-06-06-at-13.02.57.png" data-mid="110495105" border="0" src="https://freight.cargo.site/w/814/i/6f5e4657ef4833061d7f9f86754b18d6a76cee6fb3048b3b13a8a635f2ef79a5/Screenshot-2021-06-06-at-13.02.57.png" /> <img width="814" height="1128" width_o="814" height_o="1128" data-src="https://freight.cargo.site/t/original/i/f4c6da9314be088458a4d384705bc76d6551be031356e86742de68cdff1a6bb0/Screenshot-2021-06-06-at-13.02.44.png" data-mid="110495104" border="0" src="https://freight.cargo.site/w/814/i/f4c6da9314be088458a4d384705bc76d6551be031356e86742de68cdff1a6bb0/Screenshot-2021-06-06-at-13.02.44.png" /> <img width="778" height="1104" width_o="778" height_o="1104" data-src="https://freight.cargo.site/t/original/i/0c87962fad2bc7b9e744dd67b854e8f31a00ecaa7b2570d3168e375b2b0cd042/Screenshot-2021-06-06-at-13.02.36.png" data-mid="110495103" border="0" src="https://freight.cargo.site/w/778/i/0c87962fad2bc7b9e744dd67b854e8f31a00ecaa7b2570d3168e375b2b0cd042/Screenshot-2021-06-06-at-13.02.36.png" /> <img width="754" height="1124" width_o="754" height_o="1124" data-src="https://freight.cargo.site/t/original/i/b76997e5190e6ddac9b3ccb12f5c64424a973cdd3b370761b104fc35c6071218/Screenshot-2021-06-06-at-13.05.13.png" data-mid="110495134" border="0" src="https://freight.cargo.site/w/754/i/b76997e5190e6ddac9b3ccb12f5c64424a973cdd3b370761b104fc35c6071218/Screenshot-2021-06-06-at-13.05.13.png" /> <img width="810" height="1110" width_o="810" height_o="1110" data-src="https://freight.cargo.site/t/original/i/d928026d29b4678ac2c34eed2c3f4bae8907860bca53a52eded3c7dd0f41b705/Screenshot-2021-06-06-at-13.04.58.png" data-mid="110495133" border="0" src="https://freight.cargo.site/w/810/i/d928026d29b4678ac2c34eed2c3f4bae8907860bca53a52eded3c7dd0f41b705/Screenshot-2021-06-06-at-13.04.58.png" /> <img width="768" height="1136" width_o="768" height_o="1136" data-src="https://freight.cargo.site/t/original/i/2e38e41aa942886e250c0baf49f3aa4bca189246bae5fff8e472df1bbe15d998/Screenshot-2021-06-06-at-13.04.45.png" data-mid="110495132" border="0" src="https://freight.cargo.site/w/768/i/2e38e41aa942886e250c0baf49f3aa4bca189246bae5fff8e472df1bbe15d998/Screenshot-2021-06-06-at-13.04.45.png" /> WhiI was also interested in the graphic designer/artist Freider Grindler for his surreal portrayal of the individual/the body/the subject. Most notably, the bottom left images of the body as a candle and the fragmented facade of a hollow interior. Both these images resonated with me because I felt like they visualised my emotions.&nbsp; <img width="1574" height="1220" width_o="1574" height_o="1220" data-src="https://freight.cargo.site/t/original/i/e642db25beeb41af5774374a0d9825fe9378f437950f8bbc8c0e8d566e8ed16d/Screenshot-2021-06-06-at-13.18.34.png" data-mid="110495701" border="0" src="https://freight.cargo.site/w/1000/i/e642db25beeb41af5774374a0d9825fe9378f437950f8bbc8c0e8d566e8ed16d/Screenshot-2021-06-06-at-13.18.34.png" /> <img width="1576" height="1220" width_o="1576" height_o="1220" data-src="https://freight.cargo.site/t/original/i/89b70d216e4579a11d6b8547702daf5bbe837684b022ac7d357f5b021d8c9d5d/Screenshot-2021-06-06-at-13.28.03.png" data-mid="110496152" border="0" src="https://freight.cargo.site/w/1000/i/89b70d216e4579a11d6b8547702daf5bbe837684b022ac7d357f5b021d8c9d5d/Screenshot-2021-06-06-at-13.28.03.png" />The performances that inspired this included:&nbsp;-Christopher Haas: Triangle of Squinches -Ockham’s Razor: Every Action... -Damien Jalet &amp; Sidi Larbi Charkaoui:&nbsp;Pelléas et Mélisande (set design by Marina Abramovic, costumes by Iris van Herpen)&nbsp; <img width="1568" height="1216" width_o="1568" height_o="1216" data-src="https://freight.cargo.site/t/original/i/28e2c805a7c7f131f62a5b525a33aa760508ce1fabdb7df55c9476ceeae5c0e4/Screenshot-2021-06-06-at-13.43.23.png" data-mid="110496638" border="0" src="https://freight.cargo.site/w/1000/i/28e2c805a7c7f131f62a5b525a33aa760508ce1fabdb7df55c9476ceeae5c0e4/Screenshot-2021-06-06-at-13.43.23.png" />We both agreed to run with the visual of a cycle as our starting point that could inform the narrative, set, costumes, and movement. Looking at my above research, a continuous line of thought was the interaction between the space and the performer. The space was a performer of it’s own and had a kinetic presence within the cast. For example, Le Mouvement De L’air by Adrien M. &amp; Claire B. which featured a tornado of interactive projections surrounding a dancer. (above, third from left). While Maya began dissecting the above research to create character profiles, I did visual research on cycles.&nbsp;<img width="1572" height="1214" width_o="1572" height_o="1214" data-src="https://freight.cargo.site/t/original/i/d7c9a43cc47e462def231ea7c5c4432dbe82d0a8e11d702e8a777455badfce1e/Screenshot-2021-06-06-at-14.01.07.png" data-mid="110497369" border="0" src="https://freight.cargo.site/w/1000/i/d7c9a43cc47e462def231ea7c5c4432dbe82d0a8e11d702e8a777455badfce1e/Screenshot-2021-06-06-at-14.01.07.png" /><img width="1576" height="1214" width_o="1576" height_o="1214" data-src="https://freight.cargo.site/t/original/i/acd48f1ba1ac2f00bc07828ad1fb2112f9e46208aa37604ce727adf7bb1e8b81/Screenshot-2021-06-06-at-14.01.18.png" data-mid="110497372" border="0" src="https://freight.cargo.site/w/1000/i/acd48f1ba1ac2f00bc07828ad1fb2112f9e46208aa37604ce727adf7bb1e8b81/Screenshot-2021-06-06-at-14.01.18.png" /> This research led me down the rabbit hole of kinetic sculptures. This was my first initial idea for realising my concept of an interactive space/the space being it’s own performer.&nbsp; I firstly looked at Paul Friedlander, who creates installations of oscillating waves using light &amp; color. This intrigued me because of the ability to create multiple shapes and morph between them through the mathematival algorithms &amp; the color patterns. However, I knew I could not achieve this because of the technology and science required.&nbsp; I then discovered Ivan Black who creates kinetic metal sculptures that are operated by hand but also look like they are moving independently. While a person had to trigger the movement, the sculpture is able to sustain a movement pattern similar to a kinetic wind sculpture. But, I was specifically drawn to the idea that the movement pattern could be manipulated by hand. This interaction became the starting point for the set design that would inform the devising process.&nbsp; NEXT: CREATIVE PROCESS︎︎︎ https://jidaakil.com/Creative-Process Sun, 04 Apr 2021 18:59:29 +0000 Jida Akil Theatre Design https://jidaakil.com/Creative-Process CREATIVE PROCESS To begin devising the performance, Maya and I started by creating character profiles. We knew we would have two subsets of characters:&nbsp; the one experiencing vs the external forces/emotions being experienced In this process, we brainstormed our personal experiences (unique &amp; mutual) throughout lockdown and grouped them into categories of overarching emtoins. For example: getting stuck abroad, pets passing away, family members/friends getting ill, picking up new creative hobbies, educating ourselves (re: black lives matter), online learning, etc.We broke down these experiences based off how they made us feel in the moment. We narrowed it to:&nbsp;PANIC: the fear of uncertainty.&nbsp; CONFUSION: losing all control over our circumstances &amp; lifestyles.&nbsp; DEATH/GRIEF: the death of a loved one (friend, family, pet), but also greiving the loss of our lifestile and our routine.&nbsp; TIMESTOP: the extended period of lockdown which allowed us to explore new hobbies, learn new skills, but also being trapped within a form of unproductivity as everyday turned into the same trapped repetition.&nbsp; REGROWTH: the aspiritation and optimism that we would come out stronger as individuals, communities, and socieities after this.&nbsp; It is important to note that we did not want this piece to be a complaint letter about being in lockdown nor a woe-is-me sulking about our first-world troubles. Our conceptual take was to investigate the psyche in lockdown as a self-reflection for audience members and ourselves in the making process. It was very important for us to include the emotional phase of REGROWTH. Although we struggled with his immensly because at the time of developping our ideas, we were in the second-wave lockdown and the university had shut down again. This turned into a productive exercise for us to remain optimistic and productive.&nbsp; Our fifth character is&nbsp;The Experiencer, the individual that represents us all being stuck in the cycle of emotional phases.&nbsp; I first created moodboards for each character:&nbsp; <img width="1724" height="1222" width_o="1724" height_o="1222" data-src="https://freight.cargo.site/t/original/i/0ece56bbcda9dcee262fda616feec09b65c4875f169546dd780d19e6d346ad11/Screenshot-2021-06-06-at-14.35.39.png" data-mid="110500236" border="0" src="https://freight.cargo.site/w/1000/i/0ece56bbcda9dcee262fda616feec09b65c4875f169546dd780d19e6d346ad11/Screenshot-2021-06-06-at-14.35.39.png" /> <img width="1726" height="1216" width_o="1726" height_o="1216" data-src="https://freight.cargo.site/t/original/i/3b08ed929ad8b8dd4af0a1a31e78ae6ac450182d41ab0dc8ce33cb7699f12f9c/Screenshot-2021-06-06-at-14.35.13.png" data-mid="110500234" border="0" src="https://freight.cargo.site/w/1000/i/3b08ed929ad8b8dd4af0a1a31e78ae6ac450182d41ab0dc8ce33cb7699f12f9c/Screenshot-2021-06-06-at-14.35.13.png" /> <img width="1724" height="1222" width_o="1724" height_o="1222" data-src="https://freight.cargo.site/t/original/i/987e325925eea55221c198871c0eecf1ecaee462ce115bd6d12c2bc12c1f2691/Screenshot-2021-06-06-at-14.35.32.png" data-mid="110500237" border="0" src="https://freight.cargo.site/w/1000/i/987e325925eea55221c198871c0eecf1ecaee462ce115bd6d12c2bc12c1f2691/Screenshot-2021-06-06-at-14.35.32.png" /> <img width="1716" height="1208" width_o="1716" height_o="1208" data-src="https://freight.cargo.site/t/original/i/48f002577872cd232284551d0c39531e4ca3c6f2a7f306d878a5e0b676ad8de4/Screenshot-2021-06-06-at-14.35.20.png" data-mid="110500235" border="0" src="https://freight.cargo.site/w/1000/i/48f002577872cd232284551d0c39531e4ca3c6f2a7f306d878a5e0b676ad8de4/Screenshot-2021-06-06-at-14.35.20.png" /> <img width="1724" height="1220" width_o="1724" height_o="1220" data-src="https://freight.cargo.site/t/original/i/eded9b58f1c8fa59895902ea39c2b9b0199500dec07c70c5f52fadf9c513c553/Screenshot-2021-06-06-at-14.35.26.png" data-mid="110500238" border="0" src="https://freight.cargo.site/w/1000/i/eded9b58f1c8fa59895902ea39c2b9b0199500dec07c70c5f52fadf9c513c553/Screenshot-2021-06-06-at-14.35.26.png" /> We also set out with creating a brief for the structure of the piece, which we called The Cycle. This was a loose guide to help us communicate the idea with the collaboraters we were pitching it to. We knew this was bound to change once the other collaborators inserted their experiences into the devising process.&nbsp; I wanted to make it clear that this process and narrative were based entirely on interplay and interaction. By allowing the process to be reactionary, I hoped that it would be an effective mode of working to hone in on how this was based on ongoing lived experiences. We were not yet out of lockdown and making this in hindsight. We were making this while still reacting to the uncertain circumstances around us.&nbsp; At this point in the process we also looked back on the visual research and decided to take the multi-media approach in order to create a distinct contrast in the visual dramaturgy between the Emotional Phase characters and The Experiencer. The Emotional Phases would appear as projections to highlight that they were not tangible elements The Experiencer has control over. This was also to play around with scale in the physical vs digital presence.&nbsp; On another note, the decision to have the projections was also for two practical reasons: to limit our cast number for safety of covid bubbles &amp;&nbsp; in the case that we would not be able to stage the performance, we could at least have some pre-recorded content and turn it into a film.&nbsp; We also wanted to make the characters more distinct. We decided that the Panic phase was almost a hybrid of grief &amp; confusion, so we abandoned that character.&nbsp; <img width="840" height="1026" width_o="840" height_o="1026" data-src="https://freight.cargo.site/t/original/i/3b2c07e1f5229853cefafa9a44186de84bf130e5abaa306b55fe6b1af7eadec1/Screenshot-2021-06-06-at-12.48.05.png" data-mid="110500583" border="0" src="https://freight.cargo.site/w/840/i/3b2c07e1f5229853cefafa9a44186de84bf130e5abaa306b55fe6b1af7eadec1/Screenshot-2021-06-06-at-12.48.05.png" /> COSTUME DESIGN Now that we had confirmed the characters: CONFUSION, GRIEF, TIMESTOP, and REGROWTH, I went back and did some more visual research to develop my costume designs. This included: Issey Miyake, Iris Van Herpen, Antony Gormley, Oskar Schlemmer, Alexander McQueen. Below are some of my costume moodboards and some initial response sketches.&nbsp; <img width="1816" height="1220" width_o="1816" height_o="1220" data-src="https://freight.cargo.site/t/original/i/b7b01ecc7762339c4b1cb6c98d8ef601c3a8761071f73297fc6f5102764f5f07/Screenshot-2021-06-06-at-15.04.13.png" data-mid="110501678" border="0" src="https://freight.cargo.site/w/1000/i/b7b01ecc7762339c4b1cb6c98d8ef601c3a8761071f73297fc6f5102764f5f07/Screenshot-2021-06-06-at-15.04.13.png" /><img width="1566" height="1208" width_o="1566" height_o="1208" data-src="https://freight.cargo.site/t/original/i/5e6d51d36751970feafd6a6b6f350be74b8ad438f0e600103fce9185bd1bb9c3/Screenshot-2021-06-06-at-15.03.21.png" data-mid="110501675" border="0" src="https://freight.cargo.site/w/1000/i/5e6d51d36751970feafd6a6b6f350be74b8ad438f0e600103fce9185bd1bb9c3/Screenshot-2021-06-06-at-15.03.21.png" /><img width="1558" height="1216" width_o="1558" height_o="1216" data-src="https://freight.cargo.site/t/original/i/3996fb82808f7fc4cbf993ab576dddbedcb5f150930a7f3e0dfafef9fb110dcd/Screenshot-2021-06-06-at-15.03.16.png" data-mid="110501679" border="0" src="https://freight.cargo.site/w/1000/i/3996fb82808f7fc4cbf993ab576dddbedcb5f150930a7f3e0dfafef9fb110dcd/Screenshot-2021-06-06-at-15.03.16.png" /><img width="1566" height="1220" width_o="1566" height_o="1220" data-src="https://freight.cargo.site/t/original/i/f943344acfb596b1523add2380cf3a7f4c56688bd8df9ac6644a51ae7b2236a2/Screenshot-2021-06-06-at-15.03.31.png" data-mid="110501677" border="0" src="https://freight.cargo.site/w/1000/i/f943344acfb596b1523add2380cf3a7f4c56688bd8df9ac6644a51ae7b2236a2/Screenshot-2021-06-06-at-15.03.31.png" /> Upon first instinct, most of the images I was attracted to for CONFUSION, DEATH/GRIEF, and TIMESTOP, were black &amp; white which was actually influenced by my earlier research on Gilbert Garcin. I felt that compositionally, the starkness was evokative and direct since these characters would be filmed as projection content. I also wanted to visualise a contrast between those three more “negative” characters and our ultimate journey to REGROWTH to make the shift to optimism more profound and visually prominent.&nbsp;In hindsight, I wish I had done more making experimentation, but I was stuck abroad and did not have much access to my materials or space, so I experimented through drawing only. However, I was able to do a small crochet sample which I was happy with. When I began sketching costume ideas, we hit a snag in the dramaturgy. I had been interpreting the character as DEATH while Maya had been interpreting it as GRIEF. So in my initial sketch, it was a visual depiction of a death to show the pain. But we discussed and realised that we were going for GRIEF because it evoked the weight of the emotion much more powerfully. It was a more transferrable way of communicating the pain in that feeling.&nbsp;Before beginning a process with the choreographer, I wanted to have the costume designs ready in order for their movement to be a reaction to the designs. This was always intended to be a design-led process, so I felt confident when first pitching the idea to Isaac (Zac) Irvine, for him to be aware of the potential restrictions of the body. Bringing Zac into the process was ideal for the design-led devising approach because he works improvisationally. <img width="1558" height="1206" width_o="1558" height_o="1206" data-src="https://freight.cargo.site/t/original/i/03ea2891a95bff2f7e85e9fed0ce63f0e6d93d55c7093e5e71e0c422f55579fb/Screenshot-2021-06-06-at-15.03.02.png" data-mid="110501673" border="0" src="https://freight.cargo.site/w/1000/i/03ea2891a95bff2f7e85e9fed0ce63f0e6d93d55c7093e5e71e0c422f55579fb/Screenshot-2021-06-06-at-15.03.02.png" /><img width="1566" height="1208" width_o="1566" height_o="1208" data-src="https://freight.cargo.site/t/original/i/eeabcc79c39f2152201e9027edc405330f733fc76fc9d79054ec919befd2c107/Screenshot-2021-06-06-at-15.03.26.png" data-mid="110501676" border="0" src="https://freight.cargo.site/w/1000/i/eeabcc79c39f2152201e9027edc405330f733fc76fc9d79054ec919befd2c107/Screenshot-2021-06-06-at-15.03.26.png" /><img width="1566" height="1214" width_o="1566" height_o="1214" data-src="https://freight.cargo.site/t/original/i/0a8ac4f0bf0bacc1f8459de3475462e75b645b9febbf388fe79188bba056fc6e/Screenshot-2021-06-06-at-15.03.09.png" data-mid="110501674" border="0" src="https://freight.cargo.site/w/1000/i/0a8ac4f0bf0bacc1f8459de3475462e75b645b9febbf388fe79188bba056fc6e/Screenshot-2021-06-06-at-15.03.09.png" /> <img width="1204" height="1210" width_o="1204" height_o="1210" data-src="https://freight.cargo.site/t/original/i/02c05d89b3d523a5730fec9a44cf197ced0ec3b2f729d3e6031b970499694d9d/Screenshot-2021-06-06-at-15.07.58.png" data-mid="110501905" border="0" src="https://freight.cargo.site/w/1000/i/02c05d89b3d523a5730fec9a44cf197ced0ec3b2f729d3e6031b970499694d9d/Screenshot-2021-06-06-at-15.07.58.png" /><img width="940" height="1218" width_o="940" height_o="1218" data-src="https://freight.cargo.site/t/original/i/7ca934047165b44803797b3fb83392057b4be72de68173eb3c44c19bcaaaea01/Screenshot-2021-06-06-at-15.20.46.png" data-mid="110502691" border="0" data-scale="64" src="https://freight.cargo.site/w/940/i/7ca934047165b44803797b3fb83392057b4be72de68173eb3c44c19bcaaaea01/Screenshot-2021-06-06-at-15.20.46.png" /> In the designs, I also created a distinction between CONFUSION, DEATH/GRIEF, and TIMESTOP all having forms of restriction to the body versus REGROWTH accentuating the flow of the body.&nbsp; <img width="940" height="1216" width_o="940" height_o="1216" data-src="https://freight.cargo.site/t/original/i/fe1f53a533976cb353d5889a10eff9b1b9ebe63069ddf716d91b916dc0dfa5d4/Screenshot-2021-06-06-at-15.17.23.png" data-mid="110502594" border="0" src="https://freight.cargo.site/w/940/i/fe1f53a533976cb353d5889a10eff9b1b9ebe63069ddf716d91b916dc0dfa5d4/Screenshot-2021-06-06-at-15.17.23.png" /> <img width="942" height="1212" width_o="942" height_o="1212" data-src="https://freight.cargo.site/t/original/i/acaa2d95dc6bc4bb03c1cebf305e7741cb6a71097fda9df77b74ebfa8544f557/Screenshot-2021-06-06-at-15.17.17.png" data-mid="110502593" border="0" src="https://freight.cargo.site/w/942/i/acaa2d95dc6bc4bb03c1cebf305e7741cb6a71097fda9df77b74ebfa8544f557/Screenshot-2021-06-06-at-15.17.17.png" /> <img width="936" height="1222" width_o="936" height_o="1222" data-src="https://freight.cargo.site/t/original/i/68ea3a7b2d033bfccdb7e2df12762638c1a6f73819db11bbcf887b716d40fb20/Screenshot-2021-06-06-at-15.17.29.png" data-mid="110502595" border="0" src="https://freight.cargo.site/w/936/i/68ea3a7b2d033bfccdb7e2df12762638c1a6f73819db11bbcf887b716d40fb20/Screenshot-2021-06-06-at-15.17.29.png" /> <img width="938" height="1216" width_o="938" height_o="1216" data-src="https://freight.cargo.site/t/original/i/6769e1632459db81f7727ddced9e8a61935cf9f8723adac9d644cb2e8cacd08e/Screenshot-2021-06-06-at-15.17.36.png" data-mid="110502596" border="0" src="https://freight.cargo.site/w/938/i/6769e1632459db81f7727ddced9e8a61935cf9f8723adac9d644cb2e8cacd08e/Screenshot-2021-06-06-at-15.17.36.png" /> Confusion is inspired by Antony Gormley’s wire scultpures.&nbsp; Grief is inspired by Frieder Grindler’s candle composition.&nbsp; Timestop is inspired by my personal lockdown hobby, crochet, &amp; fragmentation.&nbsp; Regrowth is inspired by textural layering to show how we evolve from the accumulated past.&nbsp; SPATIAL DESIGN It was really difficult to develop the set design because I could not experiment in a space, and I felt that I needed more elements of the choreography &amp; sound design to properly start designing the space. Now that I had hit a wall, my priority was to begin collaborating on the choreography &amp; sound. Kristina Kapilin joined the team. I wanted to work with Kristina because from what I heard of her compositions, they are layered soundscapes which create an atmosphere. This was vital in getting Zac to respond through movement and for me to begin imagining how the space would come to life.&nbsp;In the collaboration with Kristina, she worked from the character profiles to create distinct soundtracks for each emotional phase, while composing them in a way where they could be layered to create The Cycle. In fact, her sound design compositions actually were the deciding factor for the structure of the piece because of how she imagined they flowed together.&nbsp; As we started to rehearse some movement ideas, this inspired my exploration for the spatial design. I picked up from where I left off in my research on kinetic sculptures. I was inspired by Olafur Eliasson’s artwork to create a whirlwind shape with kaleidoscopic effect. I made a sketch model from paper,tape, markers, and a torch to experiement with how the light &amp; forms could transform the atmosphere.<img width="1578" height="1220" width_o="1578" height_o="1220" data-src="https://freight.cargo.site/t/original/i/995a95997a93810de2453fafc2c64de78b9ccc1706f583469fb738afa74c620c/Screenshot-2021-06-06-at-15.42.31.png" data-mid="110505962" border="0" src="https://freight.cargo.site/w/1000/i/995a95997a93810de2453fafc2c64de78b9ccc1706f583469fb738afa74c620c/Screenshot-2021-06-06-at-15.42.31.png" /> <img width="1582" height="1216" width_o="1582" height_o="1216" data-src="https://freight.cargo.site/t/original/i/4c8781011783b1ffb89e893199bcaf586f992f032b4e23e398976a3c0b7b0df8/Screenshot-2021-06-06-at-15.42.37.png" data-mid="110505964" border="0" src="https://freight.cargo.site/w/1000/i/4c8781011783b1ffb89e893199bcaf586f992f032b4e23e398976a3c0b7b0df8/Screenshot-2021-06-06-at-15.42.37.png" /> I also experiemnted with creating a sketch model using found objects and digitally manipulating it to create different planes, refractions, and layering of a space.&nbsp; While these brief ideas were helpful for getting some hands-on experimentation, they did not inspire me further because I felt they were too distracting and convoluted for the visual dramaturgy.&nbsp; &nbsp; Upon reflection, I realised that we were moving towards multi-media and the projection being the focal point of our visual dramaturgy. So I wanted to focus my research towards that. I began looking at how to create multiple layers in a space &amp; research through drawing.&nbsp; <img width="1578" height="1220" width_o="1578" height_o="1220" data-src="https://freight.cargo.site/t/original/i/1eced589563662be9fed430e8373c28ff48ab0298ab592679f14f7961157dedc/Screenshot-2021-06-06-at-15.42.00.png" data-mid="110505955" border="0" src="https://freight.cargo.site/w/1000/i/1eced589563662be9fed430e8373c28ff48ab0298ab592679f14f7961157dedc/Screenshot-2021-06-06-at-15.42.00.png" /> <img width="1568" height="1210" width_o="1568" height_o="1210" data-src="https://freight.cargo.site/t/original/i/afac79560c4babd253705cbf009a4912b321291b9d5175112d1105143a15c3e1/Screenshot-2021-06-06-at-15.42.06.png" data-mid="110505956" border="0" src="https://freight.cargo.site/w/1000/i/afac79560c4babd253705cbf009a4912b321291b9d5175112d1105143a15c3e1/Screenshot-2021-06-06-at-15.42.06.png" /> I was also interested in visualising the isolation we experienced in lockdown by creating a space within a space that encapsulated The Experiencer while having the projections external to that, but still infiltrating through the narrative &amp; choreography.&nbsp; <img width="1576" height="1222" width_o="1576" height_o="1222" data-src="https://freight.cargo.site/t/original/i/5ea1d70744f870dd60e81a31b9245231f3b0edc9bdd15f58778e8d2fa3fd4348/Screenshot-2021-06-06-at-15.42.12.png" data-mid="110505959" border="0" src="https://freight.cargo.site/w/1000/i/5ea1d70744f870dd60e81a31b9245231f3b0edc9bdd15f58778e8d2fa3fd4348/Screenshot-2021-06-06-at-15.42.12.png" /> <img width="1582" height="1216" width_o="1582" height_o="1216" data-src="https://freight.cargo.site/t/original/i/a19492658b6bcb84259bb50dc7d9c4e5676e36077ce320b64456ef1229489352/Screenshot-2021-06-06-at-15.42.20.png" data-mid="110505961" border="0" src="https://freight.cargo.site/w/1000/i/a19492658b6bcb84259bb50dc7d9c4e5676e36077ce320b64456ef1229489352/Screenshot-2021-06-06-at-15.42.20.png" /> I was really drawn to this fabric rigging &amp; manipulation because I felt that it has a dynamic contrast compared to the angular &amp; geometric projection screens. It’s more lucid and comforting. My initial set design proposed a sheer fabric capsule which contained a rigged kinetic sculpture made of metal &amp; gels to create a kaleidescope as it started turning. In the downstage, projection screens would fly in &amp; out throughout The Cycle.&nbsp; When discussing this idea with my collaborators, it was directly apparent that there was too much going on. Once the sound design was coming together and the choreography was being experimented with, I realised that some of the elements I was trying to address in my spatial design were already being dramaturgically answered in other forms. We definitely needed the projection screens, and visually the idea of the fabric tied in more effectively than the kinetic sculpture. Holistically, the sculpture felt like an after thought aesthetically. When discussing with my personal tutor, I also realised it was not feasible considering I had 4 costumes to make, projection mapping, Isadora programming. I also wanted to experiment with simplifying the movement of the set. Rather than the screens flying in &amp; out repeatedly, I was more intrigued by how the space could be alive. I did some experiments with the rigged fabric (which was an old cyc re-purposed from the Platform Theatre). Through playing in the space, I came to the effect of breathing using the cyc, which I thought would fit with the sound design and react to Zac’s choreography. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/28e7435344eba1b07bf42a9d20367a813e0d7318f0115ef71d429e8bf62c2a2f/IMG_5326.jpg" data-mid="110509010" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/28e7435344eba1b07bf42a9d20367a813e0d7318f0115ef71d429e8bf62c2a2f/IMG_5326.jpg" /> Additionally, I knew I would have limited budget (most of which was going to costume) so I wanted to rely on what I could find in the Platfrom Theatre to create my set. I also found a black sharkstooth gauze (which I had discovered the material during my Abu Ghraib project), and felt it would be the perfect addition as a threshold between the projections &amp; the experiencer. I also found existing frames I could use as projection screens and fabrics that I could build my own screens with. This was my second set design proposal, which stuck. We reduced to 3 screens because of the throw of the projector being narrower than anticipated. This also solved a dramaturgical issue with REGROWTH’s appearance: we would have REGROWTH permeate all 3 screens taking over The Cycle.&nbsp; <img width="1234" height="1176" width_o="1234" height_o="1176" data-src="https://freight.cargo.site/t/original/i/fbf8fade2d88084522b6abdeb79135c1fe89d09dadd9f1783e2658cdca46d329/roughsetrender.png" data-mid="110509179" border="0" src="https://freight.cargo.site/w/1000/i/fbf8fade2d88084522b6abdeb79135c1fe89d09dadd9f1783e2658cdca46d329/roughsetrender.png" /> <img width="1794" height="1236" width_o="1794" height_o="1236" data-src="https://freight.cargo.site/t/original/i/4857af0b842dd2f2db1da6da4e733b53ca638368080d60f6c492b093f77d2d54/Screenshot-2021-06-06-at-16.32.03.png" data-mid="110509898" border="0" src="https://freight.cargo.site/w/1000/i/4857af0b842dd2f2db1da6da4e733b53ca638368080d60f6c492b093f77d2d54/Screenshot-2021-06-06-at-16.32.03.png" /> NEXT: MAKING PROCESS︎︎︎ https://jidaakil.com/Making-Process Sun, 06 Jun 2021 13:13:31 +0000 Jida Akil Theatre Design https://jidaakil.com/Making-Process MAKING PROCESS Just an overall recap of the making process across April &amp; May.&nbsp; Important note: this focuses on the set &amp; costume making process. Maya was in charge of the video design &amp; animations, while I just programmed the projections, so I will not be able to cover the video design process.&nbsp; COSTUME:&nbsp; <img width="954" height="1212" width_o="954" height_o="1212" data-src="https://freight.cargo.site/t/original/i/3602755811cb944db235d4725b8270d5319552b2e5e823ebaeeb781bf9625551/Screenshot-2021-06-06-at-16.48.56.png" data-mid="110510754" border="0" src="https://freight.cargo.site/w/954/i/3602755811cb944db235d4725b8270d5319552b2e5e823ebaeeb781bf9625551/Screenshot-2021-06-06-at-16.48.56.png" /> <img width="838" height="1266" width_o="838" height_o="1266" data-src="https://freight.cargo.site/t/original/i/f191eeace2baa6e6af05583d07a483865616d97e421a63ceee9c2710fb9ddbff/Screenshot-2021-06-06-at-16.52.10.png" data-mid="110510828" border="0" src="https://freight.cargo.site/w/838/i/f191eeace2baa6e6af05583d07a483865616d97e421a63ceee9c2710fb9ddbff/Screenshot-2021-06-06-at-16.52.10.png" /> <img width="954" height="1274" width_o="954" height_o="1274" data-src="https://freight.cargo.site/t/original/i/47261eeda926179fdcf8099b61f7ea4cf9643e886272a99fb5bfef137dd12a60/Screenshot-2021-06-06-at-16.50.42.png" data-mid="110510774" border="0" src="https://freight.cargo.site/w/954/i/47261eeda926179fdcf8099b61f7ea4cf9643e886272a99fb5bfef137dd12a60/Screenshot-2021-06-06-at-16.50.42.png" /> <img width="714" height="1152" width_o="714" height_o="1152" data-src="https://freight.cargo.site/t/original/i/655a4e5eda9b18b744ef89172241896da9dce27ae94b25aa414eecb8ef431b16/Screenshot-2021-06-06-at-17.09.27.png" data-mid="110511739" border="0" src="https://freight.cargo.site/w/714/i/655a4e5eda9b18b744ef89172241896da9dce27ae94b25aa414eecb8ef431b16/Screenshot-2021-06-06-at-17.09.27.png" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/6690695316782c32e0f59fa2eb2e57153b2f687f0f2d9a90ea2ad4d117e0016e/_MG_8221.jpg" data-mid="110511144" border="0" src="https://freight.cargo.site/w/1000/i/6690695316782c32e0f59fa2eb2e57153b2f687f0f2d9a90ea2ad4d117e0016e/_MG_8221.jpg" /> TIMESTOP: Crochet Sample ︎︎︎ Full Piece ︎︎︎&nbsp; Fitting&nbsp;︎︎︎ Rehearsal︎︎︎ Photoshoot <img width="938" height="1252" width_o="938" height_o="1252" data-src="https://freight.cargo.site/t/original/i/2a72de7f5abbffa9291e0674084e50b01784d12944d457e632204bed16f7f9aa/Screenshot-2021-06-06-at-16.49.09.png" data-mid="110510757" border="0" src="https://freight.cargo.site/w/938/i/2a72de7f5abbffa9291e0674084e50b01784d12944d457e632204bed16f7f9aa/Screenshot-2021-06-06-at-16.49.09.png" /> <img width="712" height="1266" width_o="712" height_o="1266" data-src="https://freight.cargo.site/t/original/i/78449366c9fda06dbfd89d8240dbc7a96972cf0b06b6b9f7b88659ff061e7ab7/Screenshot-2021-06-06-at-16.49.25.png" data-mid="110510758" border="0" src="https://freight.cargo.site/w/712/i/78449366c9fda06dbfd89d8240dbc7a96972cf0b06b6b9f7b88659ff061e7ab7/Screenshot-2021-06-06-at-16.49.25.png" /> <img width="950" height="1260" width_o="950" height_o="1260" data-src="https://freight.cargo.site/t/original/i/ab5b5ea9ce946937154db0b3129ae664a93c517534c13b8fac98c6cbb1b97071/Screenshot-2021-06-06-at-16.50.59.png" data-mid="110510791" border="0" src="https://freight.cargo.site/w/950/i/ab5b5ea9ce946937154db0b3129ae664a93c517534c13b8fac98c6cbb1b97071/Screenshot-2021-06-06-at-16.50.59.png" /> <img width="778" height="1206" width_o="778" height_o="1206" data-src="https://freight.cargo.site/t/original/i/019a0b4adf6bf7f098921d3b78ad78aec30ddee5eb2c45f1a207675016932cb6/Screenshot-2021-06-06-at-17.08.46.png" data-mid="110511742" border="0" src="https://freight.cargo.site/w/778/i/019a0b4adf6bf7f098921d3b78ad78aec30ddee5eb2c45f1a207675016932cb6/Screenshot-2021-06-06-at-17.08.46.png" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/47f101be11d5eb90f838c62d06c3bcd4fe194df521e5150790dfcf355f144615/_MG_8171.jpg" data-mid="110511276" border="0" src="https://freight.cargo.site/w/1000/i/47f101be11d5eb90f838c62d06c3bcd4fe194df521e5150790dfcf355f144615/_MG_8171.jpg" /> CONFUSION: Wire Sample&nbsp;︎︎︎ Crinoline Build&nbsp;︎︎︎ Fitting&nbsp;︎︎︎ Rehearsal&nbsp;︎︎︎ Photoshoot <img width="714" height="1276" width_o="714" height_o="1276" data-src="https://freight.cargo.site/t/original/i/41d9bec605307c9a2b0e237429cbbc3430779b79d73f4b253b1c8a39918f7d9c/Screenshot-2021-06-06-at-16.52.01.png" data-mid="110510827" border="0" src="https://freight.cargo.site/w/714/i/41d9bec605307c9a2b0e237429cbbc3430779b79d73f4b253b1c8a39918f7d9c/Screenshot-2021-06-06-at-16.52.01.png" /> <img width="946" height="1262" width_o="946" height_o="1262" data-src="https://freight.cargo.site/t/original/i/7bf4be001ed55279705d647980f601b97c104349e9bd4f9fc6d345f28faf838a/Screenshot-2021-06-06-at-16.51.55.png" data-mid="110510826" border="0" src="https://freight.cargo.site/w/946/i/7bf4be001ed55279705d647980f601b97c104349e9bd4f9fc6d345f28faf838a/Screenshot-2021-06-06-at-16.51.55.png" /> <img width="956" height="1270" width_o="956" height_o="1270" data-src="https://freight.cargo.site/t/original/i/89f40792ad129d67fed00b2005d600156e878cbdaa4fbdf8fe9bd943b6f7ce0f/Screenshot-2021-06-06-at-16.50.49.png" data-mid="110510795" border="0" src="https://freight.cargo.site/w/956/i/89f40792ad129d67fed00b2005d600156e878cbdaa4fbdf8fe9bd943b6f7ce0f/Screenshot-2021-06-06-at-16.50.49.png" /> <img width="778" height="1216" width_o="778" height_o="1216" data-src="https://freight.cargo.site/t/original/i/2809bfbca3df7788df2c55dd9ebff2325a0102cb6bb08f5537e9e95e301dc1bb/Screenshot-2021-06-06-at-17.10.32.png" data-mid="110511794" border="0" src="https://freight.cargo.site/w/778/i/2809bfbca3df7788df2c55dd9ebff2325a0102cb6bb08f5537e9e95e301dc1bb/Screenshot-2021-06-06-at-17.10.32.png" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/245973731ea527b9f8087bee1eb88e9f70bf70f84d3a6270ac782ec71650b39d/_MG_8190.jpg" data-mid="110511489" border="0" src="https://freight.cargo.site/w/1000/i/245973731ea527b9f8087bee1eb88e9f70bf70f84d3a6270ac782ec71650b39d/_MG_8190.jpg" /> GRIEF: Tights w/ Rice Drip Sample&nbsp;︎︎︎ Satin w/ Wadding Drip Sample&nbsp;︎︎︎ Fitting&nbsp;︎︎︎ Rehearsal&nbsp;︎︎︎ Photoshoot <img width="958" height="1268" width_o="958" height_o="1268" data-src="https://freight.cargo.site/t/original/i/107baf3f7e42fefbcb3c5b81c9db5370ebbf41c2ebb4449c8882729586dbaa50/Screenshot-2021-06-06-at-16.51.08.png" data-mid="110510776" border="0" src="https://freight.cargo.site/w/958/i/107baf3f7e42fefbcb3c5b81c9db5370ebbf41c2ebb4449c8882729586dbaa50/Screenshot-2021-06-06-at-16.51.08.png" /> <img width="944" height="1266" width_o="944" height_o="1266" data-src="https://freight.cargo.site/t/original/i/22697e526f701d9ece1832800b15f17e1c1e1ab03705827f7ed2e8d779e5eaf4/Screenshot-2021-06-06-at-16.51.16.png" data-mid="110510783" border="0" src="https://freight.cargo.site/w/944/i/22697e526f701d9ece1832800b15f17e1c1e1ab03705827f7ed2e8d779e5eaf4/Screenshot-2021-06-06-at-16.51.16.png" /> <img width="948" height="1266" width_o="948" height_o="1266" data-src="https://freight.cargo.site/t/original/i/8c9d901202d668260dd7cc23e8e59e3749952a95cbacff75b726a8b52dd0e25f/Screenshot-2021-06-06-at-16.50.35.png" data-mid="110510771" border="0" src="https://freight.cargo.site/w/948/i/8c9d901202d668260dd7cc23e8e59e3749952a95cbacff75b726a8b52dd0e25f/Screenshot-2021-06-06-at-16.50.35.png" /> <img width="672" height="1204" width_o="672" height_o="1204" data-src="https://freight.cargo.site/t/original/i/947d8aef8baa1180042a0e50f570e2c387582f4b414f67036afd12ae3fe972e5/Screenshot-2021-06-06-at-17.09.09.png" data-mid="110511740" border="0" src="https://freight.cargo.site/w/672/i/947d8aef8baa1180042a0e50f570e2c387582f4b414f67036afd12ae3fe972e5/Screenshot-2021-06-06-at-17.09.09.png" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/e0e44e22138a6be89f12ded31971cdb37360d533be6d5bb79c9524407b3b1a11/_MG_8176.jpg" data-mid="110511560" border="0" src="https://freight.cargo.site/w/1000/i/e0e44e22138a6be89f12ded31971cdb37360d533be6d5bb79c9524407b3b1a11/_MG_8176.jpg" /> REGROWTH: Organza Circle Skirt Layering Tests ︎︎︎ Fitting&nbsp;︎︎︎ Rehearsal&nbsp;︎︎︎ Photoshoot&nbsp; SET &amp; PROJECTION:&nbsp; <img width="1680" height="1272" width_o="1680" height_o="1272" data-src="https://freight.cargo.site/t/original/i/1e5ca948129f5d0cc37e30d9f592fb46cf3b3785a9488b8986821cf6b83e9aa7/Screenshot-2021-06-06-at-17.12.02.png" data-mid="110511911" border="0" src="https://freight.cargo.site/w/1000/i/1e5ca948129f5d0cc37e30d9f592fb46cf3b3785a9488b8986821cf6b83e9aa7/Screenshot-2021-06-06-at-17.12.02.png" /> <img width="1664" height="1116" width_o="1664" height_o="1116" data-src="https://freight.cargo.site/t/original/i/e38490d713dcb616af9ff45eb6e325ec731bcdaca4136514678e4783742142b9/Screenshot-2021-06-06-at-17.13.09.png" data-mid="110511931" border="0" src="https://freight.cargo.site/w/1000/i/e38490d713dcb616af9ff45eb6e325ec731bcdaca4136514678e4783742142b9/Screenshot-2021-06-06-at-17.13.09.png" /> PROJECTION SCREENS: Rigging incorrectly due to throw of projector, so we moved them further upstage &amp; center.&nbsp; <img width="3520" height="1980" width_o="3520" height_o="1980" data-src="https://freight.cargo.site/t/original/i/7085b5c4adc99dda0dc8b66ec742cad3849f72ae72d988f6c311d6ed6fcea3cb/IMG_6207.JPG" data-mid="110511796" border="0" src="https://freight.cargo.site/w/1000/i/7085b5c4adc99dda0dc8b66ec742cad3849f72ae72d988f6c311d6ed6fcea3cb/IMG_6207.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/6d6af69bac0c758fc69f4d6e0022f1ce12ac2b1378ffbd7d31c3503d4bd29383/IMG_1129.JPG" data-mid="110512048" border="0" src="https://freight.cargo.site/w/1000/i/6d6af69bac0c758fc69f4d6e0022f1ce12ac2b1378ffbd7d31c3503d4bd29383/IMG_1129.JPG" /> <img width="1242" height="2208" width_o="1242" height_o="2208" data-src="https://freight.cargo.site/t/original/i/2f40b7cfc768f13037ce492e3054700b96ddd4d17504285e6140a5a81ba86ec4/IMG_6245.PNG" data-mid="110511797" border="0" src="https://freight.cargo.site/w/1000/i/2f40b7cfc768f13037ce492e3054700b96ddd4d17504285e6140a5a81ba86ec4/IMG_6245.PNG" /> Testing lighting, Playing with Silhouettes, Projection Mapping &amp; Blocking I learned a new programming technique called MIDI cues to patch between Q-lab and Isadora so when Kristina operated the sound it would automatically trigger the projections in Isadora. This saved us a lot of time and made the programming process collaborative. PROGRAMMING:&nbsp; STORYBOARD:&nbsp; <img width="1822" height="796" width_o="1822" height_o="796" data-src="https://freight.cargo.site/t/original/i/9ed98244a4030f5cc248da4d2d2e52af08deade76f148ff87e2445a86ba8dc32/Screenshot-2021-06-06-at-17.30.07.png" data-mid="110512911" border="0" src="https://freight.cargo.site/w/1000/i/9ed98244a4030f5cc248da4d2d2e52af08deade76f148ff87e2445a86ba8dc32/Screenshot-2021-06-06-at-17.30.07.png" /><img width="1820" height="718" width_o="1820" height_o="718" data-src="https://freight.cargo.site/t/original/i/061686f78b3ec13d140c8c78145e70b2aaad656faaad1700258662ae86feb595/Screenshot-2021-06-06-at-17.30.12.png" data-mid="110512912" border="0" src="https://freight.cargo.site/w/1000/i/061686f78b3ec13d140c8c78145e70b2aaad656faaad1700258662ae86feb595/Screenshot-2021-06-06-at-17.30.12.png" /><img width="1822" height="776" width_o="1822" height_o="776" data-src="https://freight.cargo.site/t/original/i/5cd606914d706c3aafb362493b1be457c29707b62fffa11a556c9eeba383274a/Screenshot-2021-06-06-at-17.30.17.png" data-mid="110512913" border="0" src="https://freight.cargo.site/w/1000/i/5cd606914d706c3aafb362493b1be457c29707b62fffa11a556c9eeba383274a/Screenshot-2021-06-06-at-17.30.17.png" /> EXAMPLE OF MY ISADORA PROGRAMMING: This process was trial &amp; error because we did not have a tech rehearsal prior to the filming day. A lot was fixed on the go during the filming day which meant I had to be quick to catch errors and trusting my collaboraters in their respective roles on the day while I dealt with the programming.&nbsp; <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/99d215a4b93ae0cea6ecd369944c44e7faa58f4dc060156c616d4cb6675e3719/Screenshot-2021-06-06-at-17.18.53.png" data-mid="110512368" border="0" src="https://freight.cargo.site/w/1000/i/99d215a4b93ae0cea6ecd369944c44e7faa58f4dc060156c616d4cb6675e3719/Screenshot-2021-06-06-at-17.18.53.png" /> LOGISTICS Overall, I kind of played the role of being the producer, costume supervisor, and stage manager in the process.&nbsp; <img width="1970" height="1064" width_o="1970" height_o="1064" data-src="https://freight.cargo.site/t/original/i/e1a73a744bfa6afbe4b5c7c911edd8ac4d1fea352e79f5fd2181ea4b1f7b711d/Screenshot-2021-06-06-at-17.24.44.png" data-mid="110512704" border="0" src="https://freight.cargo.site/w/1000/i/e1a73a744bfa6afbe4b5c7c911edd8ac4d1fea352e79f5fd2181ea4b1f7b711d/Screenshot-2021-06-06-at-17.24.44.png" /> <img width="1698" height="772" width_o="1698" height_o="772" data-src="https://freight.cargo.site/t/original/i/bfaa37245122f782ec00a0f64d7bf5aee06e9bdea508b24cadc117fd4a0a4df1/Screenshot-2021-06-06-at-17.24.55.png" data-mid="110512705" border="0" src="https://freight.cargo.site/w/1000/i/bfaa37245122f782ec00a0f64d7bf5aee06e9bdea508b24cadc117fd4a0a4df1/Screenshot-2021-06-06-at-17.24.55.png" /> <img width="630" height="976" width_o="630" height_o="976" data-src="https://freight.cargo.site/t/original/i/146a43b227ddd7a920c179a7cf2a12087f1a59173522035b11c75409126f668e/Screenshot-2021-06-06-at-17.25.08.png" data-mid="110512706" border="0" src="https://freight.cargo.site/w/630/i/146a43b227ddd7a920c179a7cf2a12087f1a59173522035b11c75409126f668e/Screenshot-2021-06-06-at-17.25.08.png" /> making process schedule &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; budget breakdown, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; filming day schedule. NEXT: OUTCOME&nbsp;︎︎︎ https://jidaakil.com/Outcome-4 Sun, 04 Apr 2021 18:59:41 +0000 Jida Akil Theatre Design https://jidaakil.com/Outcome-4 OUTCOME Full Performance (Duration: 10 mins) <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/f405f73756d099b6476a71938e3dd0fba482379fc27d1794a2d94776e452884d/Screenshot-2021-06-01-at-10.35.38.png" data-mid="110513387" border="0" src="https://freight.cargo.site/w/1000/i/f405f73756d099b6476a71938e3dd0fba482379fc27d1794a2d94776e452884d/Screenshot-2021-06-01-at-10.35.38.png" /> <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/038bd91df03db09f792cc94b2a7950ae4485317644d4b9ca253fcc19580cac2e/Screenshot-2021-06-01-at-10.36.05.png" data-mid="110513388" border="0" src="https://freight.cargo.site/w/1000/i/038bd91df03db09f792cc94b2a7950ae4485317644d4b9ca253fcc19580cac2e/Screenshot-2021-06-01-at-10.36.05.png" /> The final outcome was such an evolution from where it started. I have to admit that throughout the process, sometimes I got a bit blinded by the design of it all. I think for a while that I was so focused on the initial research and so intent on having technical elements and a set build and sometimes ignored what the piece actually needed: a sensory and visceral experience. This project taught me that less is more. More specifically, I learned that successful and effective design is a visual dramaturgy, not a technical show-off. When I think back, I was pushing for things such as the kinetic sculpture for the wrong reasons. While I did want to challenge my skills, there were better avenues for that such as the projection being a merge of the physical &amp; digital spaces I have spent the year exploring in Unit 9 and Unit 8. In conclusion, by simplifying and cleaning up the different elements of our collective ideas, we were able to create something that layered to create the complexity. I think that was my most fruitful bit of learning throughout the whole year.&nbsp; Secondly, this project was a true test in terms of collaboration. Luckily, my previous projects, such as the Opera Design, taught me about remote collaboration. However, this was on another level because it was our dramaturg, Maya, who was abroad. I believe that this greatly improved my ability to communicate ideas and benefitted the outcome in the end. One of my flaws in this development was that I was stubborn and only wanted to think of this as a live performance. So, it was vital that I had a collaborator who could see this from the position of an audience member and reel me back in when I strayed from the reality that this was a recorded performance.&nbsp; Another critical moment in this collaboration was working with Zac, who is a movement artist and filmmaker. Especially with the filming of the video designs, e was able to take charge where my filmmaking skills fall short. I think another element of successful collaboration was that I was continuously learning from my peers. This allowed me to facilitate a flat hierarchy because we all had our own strengths and I got better at delegating tasks. This allowed us to be ahead of schedule, but also to feel like everyone got an equal creative input. As the project developped, we kind of all became the dramaturgs from our respective specialisms. While Maya and I had developped the concept together, I really wanted to make sure that Zac &amp; Kristina were able to bring in their own experiences and had the freedom to lead the piece in a specific direction when it was appropriate. For example, Kristina ended up leading most of the narrative structure decisions based on how she was composing, and the sound became the cue for everything else: choreography, video, and projection. While I can reflect and say that I was the Lead Artist, if I had to, I believe that this was an equal collaboration. And thus, I achieved my goal.&nbsp; ︎︎︎BACK TO PORTFOLIO NEXT PROJECT︎︎︎ https://jidaakil.com/The-Collective Sun, 04 Apr 2021 18:55:10 +0000 Jida Akil Theatre Design https://jidaakil.com/The-Collective ︎︎︎BACK TO PORTFOLIO <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/d58ba5def8b2e860c076cf9942456523f0e7c072209b4c4368ff8798c290cfc3/IMG_3363.jpg" data-mid="104282099" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/d58ba5def8b2e860c076cf9942456523f0e7c072209b4c4368ff8798c290cfc3/IMG_3363.jpg" /> The Collective: the outcome is a 10-min pre-recorded performance. We were interrogating how to devise a performance as a team entirely made up of designers, so that the narrative &amp; world are created through visual storytelling and visual dramaturgy. We were also exploring new technology and how to create theatre during and post-coved by using green screen technology and Isadora to keep social-distancing. Lastly, I was specifically looking at how we can take a real life event/biographical lived experience of someone else and re-tell it especially from the point of view of a marginalised identity like Valeria Solanas as a female artist in a male-dominated and egotistical industry. &nbsp;<img width="1978" height="618" width_o="1978" height_o="618" data-src="https://freight.cargo.site/t/original/i/dfb03bc9251f71ced0e1929dbeb87a1a0e4e06b06933c3c67006e0eaa0c35525/Screenshot-2021-04-05-at-15.11.03.png" data-mid="104283978" border="0" src="https://freight.cargo.site/w/1000/i/dfb03bc9251f71ced0e1929dbeb87a1a0e4e06b06933c3c67006e0eaa0c35525/Screenshot-2021-04-05-at-15.11.03.png" /> Please click on the below tabs to view the project: https://jidaakil.com/Research Sun, 04 Apr 2021 19:01:16 +0000 Jida Akil Theatre Design https://jidaakil.com/Research RESEARCH &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; for full collection of visual research, please refer to this&nbsp;pinterest page When we first began talking, Isis, Inigo, and I were mutally interested in looking at pop-art (especially Andy Warhol) after Pete had breifed us on the graphic novel lens of the project.&nbsp; On another hand, we were also interested Second-Wave feminism in the 1960s. This merge of interests lead us to the story of Valerie Solanas (author of SCUM Manifesto) who shot Andy Warhol in 1968. However, we wanted to tell HER story from HER perspective and to really explore why she was driven to that point of anger.&nbsp; Early on in conversation, we established that Solonas’ anger is inevitable because she is a woman in the art world/creative industry which is plagued by sexism (re: SCUM Manifesto). This gave us the idea to explore sexism and the male gaze by taking Solanas on a journey through art history that drives her to the point of no return when she shoots Andy Warhol, the scapegoat for her anger at the art world.&nbsp; <img width="1242" height="1649" width_o="1242" height_o="1649" data-src="https://freight.cargo.site/t/original/i/49e4eb8c1bf8cd1b6f50266d934d79ba045e8d8dcd19a630720ee1bbc3da3380/IMG_EE6A32095BB0-1.jpeg" data-mid="104287633" border="0" alt="graphic novel covers from the 60s &amp; 70s as inspiritation for the stylized finish. " data-caption="graphic novel covers from the 60s &amp; 70s as inspiritation for the stylized finish. " src="https://freight.cargo.site/w/1000/i/49e4eb8c1bf8cd1b6f50266d934d79ba045e8d8dcd19a630720ee1bbc3da3380/IMG_EE6A32095BB0-1.jpeg" /> We first brainstormed ideas for the male gaze in art history:&nbsp; -Renaissance:-birth of venus, Ingress portraits, girl with the pearl earring.&nbsp;- Feminist Art:&nbsp;-Cindy Sherman, Frida Kahlo, Guerrilla Girls-Women &amp; Political Art/Propoganda/Media-sexist 50s adverts, suffragette movement, women in war time, second-wave feminist movement.&nbsp; &nbsp; We then brainstormed art movements we were stylistically interested in:&nbsp; -Pop Art:&nbsp; -Andy Warhol, Roy Litchenstein -German Expressionism:&nbsp; -The Scream, Cabinet of Dr. Caligari -Surrealism:&nbsp;&nbsp; &nbsp; &nbsp; &nbsp;-Salvador Dali, MC Escher We split off and did our own research on specifc parts of the above lists. I looked into pop art, frida kahlo, german expressionism, and surrealism.&nbsp; <img width="1494" height="1004" width_o="1494" height_o="1004" data-src="https://freight.cargo.site/t/original/i/f0bc7e1f99433a868d0319373ec23d54018c4ad2271a50b4c24aab9906e5e5a6/Screenshot-2021-04-05-at-15.37.05.png" data-mid="104286213" border="0" src="https://freight.cargo.site/w/1000/i/f0bc7e1f99433a868d0319373ec23d54018c4ad2271a50b4c24aab9906e5e5a6/Screenshot-2021-04-05-at-15.37.05.png" /> Some notable artworks from the above collage:&nbsp; -Birth of Venus, tempera on canvas by Sandro Botticelli, c. 1485; Uffizi Gallery, Florence.&nbsp; -Drowning Girl, oil and synthetic polymer paint on canvas by Roy Litchenstein, 1963;&nbsp; MoMa, NYC.&nbsp; -Galatea of the Spheres, oil on canvas by Salvador Dali, 1952; Dali Theatre and Museum, Spain. -Untilted Film Still #2, photograph by Cindy Sherman, 1977; MoMa, NYC.&nbsp; -Hand with Reflecting Sphere, lithograph by MC Escher, 1935; National Gallery of Art, Washington DC.&nbsp; -Self-Portait with Cropped Hair, oil on canvas by Frida Kahlo, 1940; MoMa, NYC.&nbsp; <img width="1152" height="814" width_o="1152" height_o="814" data-src="https://freight.cargo.site/t/original/i/37ea82ccc99e22e06cffb57763addb9bd75b9ea494a7f18ad34d5dc0fe4048bc/Screenshot-2021-04-05-at-15.37.43.png" data-mid="104286214" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/37ea82ccc99e22e06cffb57763addb9bd75b9ea494a7f18ad34d5dc0fe4048bc/Screenshot-2021-04-05-at-15.37.43.png" />Some notable artworks from the above collage: -Drowning Girl, oil and synthetic polymer paint on canvas by Roy Litchenstein, 1963;&nbsp; MoMa, NYC. -The Scream (after Munch), silkscreen print by Andy Warhol, 1984; Sothesbys. -Mick Jagger 143, screenpring by Andy Warhol, 1975; Guy Hepner Art Gallery.&nbsp;After finding artworks I was interested in, I began by playing around with creating compositions out of them that could fit into the art history montage in our narrative:&nbsp; <img width="750" height="1116" width_o="750" height_o="1116" data-src="https://freight.cargo.site/t/original/i/77e3469632fd2ac655a9d85e99c0e33199e6ed33f7b094d101ff37944a1d9740/Screenshot-2021-04-05-at-15.37.34.png" data-mid="104286215" border="0" src="https://freight.cargo.site/w/750/i/77e3469632fd2ac655a9d85e99c0e33199e6ed33f7b094d101ff37944a1d9740/Screenshot-2021-04-05-at-15.37.34.png" /> <img width="862" height="1140" width_o="862" height_o="1140" data-src="https://freight.cargo.site/t/original/i/aff044ca2df4e0cacf66ef0f771ef20843fc1a2380f53f70994d4b1746293817/Screenshot-2021-04-05-at-15.37.12.png" data-mid="104286217" border="0" src="https://freight.cargo.site/w/862/i/aff044ca2df4e0cacf66ef0f771ef20843fc1a2380f53f70994d4b1746293817/Screenshot-2021-04-05-at-15.37.12.png" /> <img width="868" height="1000" width_o="868" height_o="1000" data-src="https://freight.cargo.site/t/original/i/660a1169260072afecc3138f4c2d77b1e8c8b1d5de0b17cd80851c3039ca5cec/Screenshot-2021-04-05-at-15.37.19.png" data-mid="104286216" border="0" src="https://freight.cargo.site/w/868/i/660a1169260072afecc3138f4c2d77b1e8c8b1d5de0b17cd80851c3039ca5cec/Screenshot-2021-04-05-at-15.37.19.png" /> For example, I was thinking how we could transition from time periods, seen in the left image combining Cindy Sherman’s photograph with The Girl with the Pearl Earring. Secondly, I was thinking how to create a manic state that Solanas’ experiences as a result of this journey, so I collaged Valerie’s face onto Frida Kahlo’s Self-Portrait with Cropped Hair all while a German Expressionism inspired hallway is spinning around her. Lastly, I wanted to embody a feeling of entrapment but also self-observation which was inspired by M C Escher’s Hand with Reflecting Sphere.&nbsp; From this experimentation, I made a sample of a storyboard progression for the montage. I was trying to imagine how Valerie Solanas as a character could be placed and/or become trapped in these artworks. This is a rough idea for the “surrealism” section of the montage. &nbsp; <img width="2208" height="1242" width_o="2208" height_o="1242" data-src="https://freight.cargo.site/t/original/i/f361b45a5063f9ea3410e192cc0be5cc7fd6a771dcbb1c7fa996a9878ddf0929/IMG_5249.PNG" data-mid="104291343" border="0" alt="start with Cindy Sherman photograph composition, Valerie is observing herself in the mirror, her reflection becomes distorted as it morphs into Galatea of the Spheres and the composition melts around her, she falls into a chair and replicates Kahlo's Self-portrait with Cropped Hair, once her hair is cut she holds up M C Eschere's sphere and observes herself trapped, as she tries to escape the sphere she becomes trapped in a maze of M C Escher stairs surrounded by distant figures approaching her. " data-caption="start with Cindy Sherman photograph composition, Valerie is observing herself in the mirror, her reflection becomes distorted as it morphs into Galatea of the Spheres and the composition melts around her, she falls into a chair and replicates Kahlo's Self-portrait with Cropped Hair, once her hair is cut she holds up M C Eschere's sphere and observes herself trapped, as she tries to escape the sphere she becomes trapped in a maze of M C Escher stairs surrounded by distant figures approaching her. " src="https://freight.cargo.site/w/1000/i/f361b45a5063f9ea3410e192cc0be5cc7fd6a771dcbb1c7fa996a9878ddf0929/IMG_5249.PNG" />Start with Cindy Sherman photograph composition, Valerie is observing herself in the mirror, her reflection becomes distorted as it morphs into Galatea of the Spheres and the composition melts around her, she falls into a chair and replicates Kahlo's Self-portrait with Cropped Hair, once her hair is cut she holds up M C Eschere's sphere and observes herself trapped, as she tries to escape the sphere she becomes trapped in a maze of M C Escher stairs surrounded by distant figures approaching her. We came back together to combine the research for our respective sections. We came up with a timeline for the montage. At this stage, we thought that the montage exists between Solanas holding up the gun and Andy being shot.&nbsp;Renaissance sequence&nbsp; ︎︎︎ Political: Propoganda &amp; Feminism sequence ︎︎︎ Surrealism/Contemporary Art sequence ︎︎︎ ending shot of Andy Warhol’s The Scream print with Andy’s face as The Scream&nbsp; (filter in sexist propoganda throughout as flashes &amp; transitions between sections)&nbsp; We also made the decision for the style of the montage to be digital collages &amp; animations of the artworks we have chosen since it would be way too difficult to try and redraw them ourselves. We also wanted the “montage world” to be very flat and 2D in order to make it seem more claustrophobic for Valerie and more surreal atmospherically. This was inspired by collage art such as Eugenia Loli’s:&nbsp; <img width="474" height="631" width_o="474" height_o="631" data-src="https://freight.cargo.site/t/original/i/730013210ad40417a3295c1d11b88c0e63e3c92283ea356ce3ca13df1dea3e3d/178b746bc800f39b2c287192b81ecf53.jpg" data-mid="104294380" border="0" src="https://freight.cargo.site/w/474/i/730013210ad40417a3295c1d11b88c0e63e3c92283ea356ce3ca13df1dea3e3d/178b746bc800f39b2c287192b81ecf53.jpg" /> <img width="474" height="474" width_o="474" height_o="474" data-src="https://freight.cargo.site/t/original/i/21a872c4984430cf8ae39b31cf8d5438992f0f8696dd4b87d279ee1af7bb4ede/fd36c96cbfe50fcb888c6ae0e6ae0b70.jpg" data-mid="104294382" border="0" src="https://freight.cargo.site/w/474/i/21a872c4984430cf8ae39b31cf8d5438992f0f8696dd4b87d279ee1af7bb4ede/fd36c96cbfe50fcb888c6ae0e6ae0b70.jpg" /> <img width="473" height="612" width_o="473" height_o="612" data-src="https://freight.cargo.site/t/original/i/6e46fc2ff802f4a53d8dcf6746f01734ba833a25fce780ed692754bb1f706b4c/c7386ba960506576bd608b2e694ef4c5.jpg" data-mid="104294381" border="0" src="https://freight.cargo.site/w/473/i/6e46fc2ff802f4a53d8dcf6746f01734ba833a25fce780ed692754bb1f706b4c/c7386ba960506576bd608b2e694ef4c5.jpg" /> Next stage in our research was to establish the “real world” which is where Valerie is going to Andy’s studio and preparing to shoot him. We wanted to capture the stylized atmosphere of New York Street at night, so we referenced Taxi Driver (1976). I looked into the color scheme and composition of the filmstills. I also experimented with painting the composition to capture the blend of colors and haze. <img width="1258" height="970" width_o="1258" height_o="970" data-src="https://freight.cargo.site/t/original/i/74106fa01a660e2478cfc716a36283e90b0759fd9e972c6bb59b4170b311fd05/Screenshot-2021-04-05-at-16.31.27.png" data-mid="104293110" border="0" src="https://freight.cargo.site/w/1000/i/74106fa01a660e2478cfc716a36283e90b0759fd9e972c6bb59b4170b311fd05/Screenshot-2021-04-05-at-16.31.27.png" /> Isis &amp; Inigo similarly referenced films for other sections of the “real world” including: The Shining for the corridors in Andy’s apartment building, Terminator 2 for the lift, and American History X for the shooting. We compiled these references and drafted an initial storyboard.&nbsp; <img width="1242" height="1726" width_o="1242" height_o="1726" data-src="https://freight.cargo.site/t/original/i/e7bb725b867b913a479b303a13bfbbfb3b2e2a98a1c897c342c1af4e052692f8/IMG_5250.jpg" data-mid="104293428" border="0" src="https://freight.cargo.site/w/1000/i/e7bb725b867b913a479b303a13bfbbfb3b2e2a98a1c897c342c1af4e052692f8/IMG_5250.jpg" /> <img width="1242" height="1727" width_o="1242" height_o="1727" data-src="https://freight.cargo.site/t/original/i/db622594a2b79c73b44cd31ceeb6b188a4e4831a8bb10e2515de6fe00177758c/IMG_5251.jpg" data-mid="104293427" border="0" src="https://freight.cargo.site/w/1000/i/db622594a2b79c73b44cd31ceeb6b188a4e4831a8bb10e2515de6fe00177758c/IMG_5251.jpg" /> NEXT: PROCESS ︎︎︎ https://jidaakil.com/Process Sun, 04 Apr 2021 19:01:32 +0000 Jida Akil Theatre Design https://jidaakil.com/Process PROCESS I would first like to note that an ongoing part of the process was learning how to use Isadora thoughout all 7 weeks. This was particularly important for me as I was editing all of our content into video files, programming, and operating the show. We learned Isadora over Zoom tutorials with Andrew Crofts and a two in-person tutorials prior to the tech rehearsal. The first part of the process was costume designs. A challenge in this process was using costumes that were suitable with green screen. For example, we initially wanted to put Andy in all black but since our green screen was made with a cyclorama lit in green, the light reflected onto any pure white or pure black surface and didn’t read on the Isadora output. We figured this out by experimenting in our own clothes.&nbsp; <img width="950" height="620" width_o="950" height_o="620" data-src="https://freight.cargo.site/t/original/i/49ef24a6b9987d8dc44e6c84e7ab874547bd7a48cf28c05962e7e4d42bd88ea1/Screenshot-2021-03-23-at-21.54.26.png" data-mid="104305945" border="0" data-scale="100" src="https://freight.cargo.site/w/950/i/49ef24a6b9987d8dc44e6c84e7ab874547bd7a48cf28c05962e7e4d42bd88ea1/Screenshot-2021-03-23-at-21.54.26.png" /> The first was turqouise and/or yellow, which we immediately rejected because it was too close to green. The second option was red, which we also rejected because we were planning to have quite a bit of red in our background designs. We ended up deciding on fuschia/magenta because the color contrasts perfectly against the green screen. And, we were amused by the juxtaposition of a “girly-girl” color in a “hyper-masculine” silhouette. We thought that suited the concept of the montage and the struggle of a woman in a male-dominated industry: she will always be seen as less for being a woman despite her attempts to transcend that label.&nbsp;<img width="910" height="612" width_o="910" height_o="612" data-src="https://freight.cargo.site/t/original/i/4d1f5647063bf250547ac21f744c279d7574a0305b07e28058540efe29547548/Screenshot-2021-03-23-at-21.54.15.png" data-mid="104305944" border="0" src="https://freight.cargo.site/w/910/i/4d1f5647063bf250547ac21f744c279d7574a0305b07e28058540efe29547548/Screenshot-2021-03-23-at-21.54.15.png" />Andy only appears in the “real world” so we put him in a red turtleneck to make sure we would not sturggle with the greenscreen, as well as patterned trousers to give his character some personality in the black &amp; white output and because his appearance is so brief. We began with Valerie in her montage/nightmare. We wanted her to stand out extremely and to establish her presence as against the status-quo. Inspired by Twiggy, Grace Jones, and Bowie we styled her in a bright colored power suit. However, we were unable to measure Adela, our actress, prior to fitting the costume so the suit we sourced did not fit. So, we searched online and among our things to come up with a few options:&nbsp; <img width="1797" height="1242" width_o="1797" height_o="1242" data-src="https://freight.cargo.site/t/original/i/bb2b793d11c1530a6e14083fab81b7c83fa3a0442294b7eb53f23d8dd08a6078/IMG_ECD7D45A82BC-1.jpeg" data-mid="104306202" border="0" src="https://freight.cargo.site/w/1000/i/bb2b793d11c1530a6e14083fab81b7c83fa3a0442294b7eb53f23d8dd08a6078/IMG_ECD7D45A82BC-1.jpeg" /> The second challenge was costume changes. We wanted a clear distinction between “montage Valerie” and “real world Valerie”. However, there was not enough time for Valerie to take off the suit and put on her civilian clothing. This informed the decision to put “real world” characters in black and white, so the color of her pink costume did not matter. She just had to put on a coat to change up the style &amp; silhouette.&nbsp; <img width="900" height="556" width_o="900" height_o="556" data-src="https://freight.cargo.site/t/original/i/6af71f7bb75936be121e2614d25db9e395b9f19192e0ad623aa5a5dc7557bb11/Screenshot-2021-03-23-at-21.54.09.png" data-mid="104305946" border="0" data-scale="100" src="https://freight.cargo.site/w/900/i/6af71f7bb75936be121e2614d25db9e395b9f19192e0ad623aa5a5dc7557bb11/Screenshot-2021-03-23-at-21.54.09.png" /> To begin background designs, we split up the sections of the narrative like we did with the research. Firstly, we split up the “real world” which we decided to paint over screengrabs of the films we researched. I created a comic book page for the scenes of Valerie walking through NYC referencing Taxi Driver (1976). I then choreographed this scene. I also decided to add color tints over the desaturated black &amp; white filter, in order to show a build up of anger on Valerie’s face in a more heightened stylized way. The edge detect filter is inspired by the comic book illustrations from our research to give her an etched look and bring out angled features.&nbsp; <img width="2313" height="3334" width_o="2313" height_o="3334" data-src="https://freight.cargo.site/t/original/i/5cff17ffcaf05fafbe521fe04bb3a700d11db47b9d0131b262244939832948ce/Scanned-Documents.png" data-mid="104304333" border="0" src="https://freight.cargo.site/w/1000/i/5cff17ffcaf05fafbe521fe04bb3a700d11db47b9d0131b262244939832948ce/Scanned-Documents.png" /> Here is a screenshot of testing the filters on myself, you can see that the green screen was pixelating, partially because I was wearing black and because the settings were off. I had to toggle this before each rehearsal &amp; filming to adjust to the specific lighting on each run.&nbsp; <img width="638" height="362" width_o="638" height_o="362" data-src="https://freight.cargo.site/t/original/i/1c48440e5e1e9005c2b07861bd94ae5b13a1c05a0b7fbf1ed6be70672f9d6551/Screenshot-2020-11-24-at-14.07.24.png" data-mid="104318835" border="0" src="https://freight.cargo.site/w/638/i/1c48440e5e1e9005c2b07861bd94ae5b13a1c05a0b7fbf1ed6be70672f9d6551/Screenshot-2020-11-24-at-14.07.24.png" /> Freezeframe on Valerie’s eyes with desaturate + edge detect Isadora filterEstablishing shot.Valerie enters left walks on a slight diagonal facing camera across to right, exits frame.&nbsp;Close-up of previous shot, Valerie enters left and walks across to right, exits frame.&nbsp;Freezeframe on Valerie’s eyes with edge detect Isadora filter + yellow tint.Valerie enters left, walks across to right, observes couple, exits frame.&nbsp;Valerie enters left, looks back, walks on a slight diagonal away from camera, exits frame.&nbsp;Freezeframe on Valerie’s eyes edge detect Isadora filter + red tintValerie centre frame facing camera looking up (as if at a building).&nbsp;CUT to next scene (entering building)&nbsp; One of the biggest challenges of visualising the scenes for this performance was thinking of everything as a film. The actors were playing to various cameras not a live audience, which took my a while to adjust my thinking to. This is one of the reasons that this scene I designed was the hardest to choreograph and programme, when I designed it I did not think about it like a film, but as one long theatrical scene. So I struggled with the programming and direction especially when it came to keeping within the camera frame and the frame of the comic strip boxes.&nbsp; When I first designed this scene, it seems quite static because there are no people, and where I have painted people (the couple), they have no presence. This was a concern because it did not establish the atmosphere of New York City, but rather just dull 2D backgrounds that a live actor was prancing around. So, I decided to add animations of cars and people walking across the pavements that Valerie could interact with.&nbsp; Here is a video experimenting with the scene &amp; programming for the first time where you can also see the added car &amp; people animations. In this clip, I had not yet adjusted the scale and placement of the camera output. This was something challenging, as it depended on the camera placement and settings everytime we tried to rehearse or run. Other groups had different settings on the camera, so we marked ours and set basic parameters on Isadora and tweeked slightly when we ran it.&nbsp; *** IMPORTANT: As soon as we started seeing things coming together and began talking to Pete and Adela, our actress, about the storyboard, we realised that the dramaturgy did not work. It did not make sense that the montage happens after she has already decided to shoot Andy because we were trying to show what led her to that act. Here we decided to go back to the drawing board.&nbsp; Since the three of us are designers, we undeniably hit roadblocks due to seeing things only from the visual perspective. It became critical to talk out our ideas with Pete and Adela before we got too far in making. This process taught me a lot in how to expand my thinking as a designer when devising, and to be willing to let go of things that would just look good, because there is more effective dramaturgical ways of story-telling.&nbsp; <img width="1252" height="966" width_o="1252" height_o="966" data-src="https://freight.cargo.site/t/original/i/5bc85334900d9795fbe1ac54801d379ccafb508537b740d4431258bd0f140957/Screenshot-2021-04-05-at-18.00.01.png" data-mid="104315784" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/5bc85334900d9795fbe1ac54801d379ccafb508537b740d4431258bd0f140957/Screenshot-2021-04-05-at-18.00.01.png" /><img width="1242" height="1699" width_o="1242" height_o="1699" data-src="https://freight.cargo.site/t/original/i/3d7b01e66ae344dffef4a9d0ac6402ce5e1a4345a47708b9f98b011c3deb0443/IMG_5254.jpg" data-mid="104316269" border="0" src="https://freight.cargo.site/w/1000/i/3d7b01e66ae344dffef4a9d0ac6402ce5e1a4345a47708b9f98b011c3deb0443/IMG_5254.jpg" /><img width="1242" height="1729" width_o="1242" height_o="1729" data-src="https://freight.cargo.site/t/original/i/8de6b25cb2a13f0412ec6c9eed816950c86bf27b05c5bf3fa3f3c94ef03f4eb8/IMG_5257.jpg" data-mid="104316271" border="0" src="https://freight.cargo.site/w/1000/i/8de6b25cb2a13f0412ec6c9eed816950c86bf27b05c5bf3fa3f3c94ef03f4eb8/IMG_5257.jpg" /><img width="1807" height="1231" width_o="1807" height_o="1231" data-src="https://freight.cargo.site/t/original/i/dcc918fd689684caf9b17b44ef2255f6439dc3849c604210f25f23ede4e45c0e/IMG_5258.jpg" data-mid="104316900" border="0" src="https://freight.cargo.site/w/1000/i/dcc918fd689684caf9b17b44ef2255f6439dc3849c604210f25f23ede4e45c0e/IMG_5258.jpg" /><img width="1237" height="1654" width_o="1237" height_o="1654" data-src="https://freight.cargo.site/t/original/i/f338435aef4262b155309cf17a80c61d3073b3de45507785b312fb6d1526e5c1/IMG_5260.PNG" data-mid="104316920" border="0" src="https://freight.cargo.site/w/1000/i/f338435aef4262b155309cf17a80c61d3073b3de45507785b312fb6d1526e5c1/IMG_5260.PNG" /> Finally, we also decided to add some filler scenes. At the start, to have an establishing shot of Valerie in her flat, then sleeping in her bed before we enter her dream. I painted a pillow for this. And secondly, we also needed a filler scene to transition from the dream to her waking up in the “real world”, so I painted a telephone which rings and thats the trigger for her to wake up. Additionally, while the telephone is on screen, Adela does the costume change.&nbsp; <img width="1178" height="596" width_o="1178" height_o="596" data-src="https://freight.cargo.site/t/original/i/3af46d97e86e4f5759487b8604da1307817129b2d76ca4b265a7c5e989d120dd/Screenshot-2021-04-05-at-18.31.18.png" data-mid="104318882" border="0" src="https://freight.cargo.site/w/1000/i/3af46d97e86e4f5759487b8604da1307817129b2d76ca4b265a7c5e989d120dd/Screenshot-2021-04-05-at-18.31.18.png" /> We wanted to show pent-up anger and fear, so we refered to the nightmare sequence in Vertigo (1958). However, we did not want to suggest a manic episode or delusion for Valerie, as she has often been written off as “crazy” or “insane”, so we merely used Vertigo (1958) as a benchmark for the dramaturgical structure.While Isis &amp; Inigo worked on painting the remaining backgrounds for the shooting scenes and put together the voice-over from SCUM Manifesto, I did more research to create compositions for the montage. I kept the main research points we had from before (male gaze in renaissance portraits, political propoganda, contemporary art including surrealism, german expressionism, and pop art). I was simultaniously creating the animation and video designs so we could begin testing them in rehearsals.&nbsp; &nbsp;<img width="1242" height="1695" width_o="1242" height_o="1695" data-src="https://freight.cargo.site/t/original/i/c894a4e241093cbe32d3090e6410c295068575831b883c8396d5d68b5fc5082c/IMG_5253.jpg" data-mid="104316266" border="0" src="https://freight.cargo.site/w/1000/i/c894a4e241093cbe32d3090e6410c295068575831b883c8396d5d68b5fc5082c/IMG_5253.jpg" /><img width="1242" height="1768" width_o="1242" height_o="1768" data-src="https://freight.cargo.site/t/original/i/a1b908878302d122adee3a2de1f06637017aff0d4d5d45569c8ba9cb7c18698a/IMG_5256.jpg" data-mid="104316270" border="0" src="https://freight.cargo.site/w/1000/i/a1b908878302d122adee3a2de1f06637017aff0d4d5d45569c8ba9cb7c18698a/IMG_5256.jpg" /><img width="1242" height="1714" width_o="1242" height_o="1714" data-src="https://freight.cargo.site/t/original/i/545fdf4fe37f1a5ac05e978b2eee2d754262cb52e6eb6efa9de0df44dfec3602/IMG_5259.jpg" data-mid="104316921" border="0" src="https://freight.cargo.site/w/1000/i/545fdf4fe37f1a5ac05e978b2eee2d754262cb52e6eb6efa9de0df44dfec3602/IMG_5259.jpg" /> I also made a new storyboard for the nightmare montage:&nbsp; <img width="1861" height="1242" width_o="1861" height_o="1242" data-src="https://freight.cargo.site/t/original/i/7034b66773944531a16490e2fa3e01358ca00515e017bda96705cafaa0594e23/IMG_5261.jpg" data-mid="104317985" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/7034b66773944531a16490e2fa3e01358ca00515e017bda96705cafaa0594e23/IMG_5261.jpg" /> <img width="880" height="722" width_o="880" height_o="722" data-src="https://freight.cargo.site/t/original/i/44ddedd728c818b931fe960b15cbe1432c59cbfc48378902cdf50748b2de528a/Screenshot-2021-04-05-at-18.31.08.png" data-mid="104318881" border="0" src="https://freight.cargo.site/w/880/i/44ddedd728c818b931fe960b15cbe1432c59cbfc48378902cdf50748b2de528a/Screenshot-2021-04-05-at-18.31.08.png" /> After creating all of our backgrounds and video files on After Effects, I established the foregrounds and backgrounds to export them into Isadora. We began to rehearse; Isis &amp; Inigo did most of the blocking and directing while I programmed. The programming process was essentially just putting each scene in the right layers of foregrounds and backgrounds and adding the filters. The challenging part was putting in the jump cues, since in each scene we had 2-5 background changes, so my job was to time everything accurately. For the camera outputs we used 3: close up, mid-shot, and long shot which the actors switched between. This was more useful than each actor getting one camera because Valerie was on more frequently than the othres, and our scenes had cuts within them.&nbsp; In this video you can see the set up. Here is a scene I designed that was extremely hard to programme because it was dependent on switching from one camera to another and actor placement. NEXT: OUTCOME ︎︎︎ https://jidaakil.com/Outcome Sun, 04 Apr 2021 19:01:50 +0000 Jida Akil Theatre Design https://jidaakil.com/Outcome OUTCOME First of all, here are some behind the scenes photos of how the stage was set up:&nbsp; <img width="1980" height="3520" width_o="1980" height_o="3520" data-src="https://freight.cargo.site/t/original/i/f32d1a23bd3dc68202dd9bb77a1c7222ac221686d0c38fe6b064cc1a6a0bdd10/IMG_3348.JPG" data-mid="104321380" border="0" src="https://freight.cargo.site/w/1000/i/f32d1a23bd3dc68202dd9bb77a1c7222ac221686d0c38fe6b064cc1a6a0bdd10/IMG_3348.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/6cbf1ec65bf099db8d25bc9c266c21e865c0baa17ab49be49e70bc5f0117ead8/IMG_3361.jpg" data-mid="104321382" border="0" src="https://freight.cargo.site/w/1000/i/6cbf1ec65bf099db8d25bc9c266c21e865c0baa17ab49be49e70bc5f0117ead8/IMG_3361.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5a33caf4fdb95dac8bcad52a4a59bc94153134483e2e3be8f87152c86b11692b/IMG_3362.jpg" data-mid="104321384" border="0" src="https://freight.cargo.site/w/1000/i/5a33caf4fdb95dac8bcad52a4a59bc94153134483e2e3be8f87152c86b11692b/IMG_3362.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5224aa8931a1bb2633d4761e9616c399c041383a4b0bee5cdb00d08a618eaa9f/IMG_3336.jpg" data-mid="104321378" border="0" src="https://freight.cargo.site/w/1000/i/5224aa8931a1bb2633d4761e9616c399c041383a4b0bee5cdb00d08a618eaa9f/IMG_3336.jpg" /> 10-min filmed performance featuring the Isadora output and the full stage in the bottom corner. Also, below is a storyboard of film stills for you to get a sense of the performance’s progression if you are unable to watch the whole piece.&nbsp; <img width="2264" height="1282" width_o="2264" height_o="1282" data-src="https://freight.cargo.site/t/original/i/0038adbace000820fdc164a981156ae9d0fe4369fbd7b133bfb2f5e22314551b/Screenshot-2021-04-05-at-18.59.47.png" data-mid="104323598" border="0" src="https://freight.cargo.site/w/1000/i/0038adbace000820fdc164a981156ae9d0fe4369fbd7b133bfb2f5e22314551b/Screenshot-2021-04-05-at-18.59.47.png" /> <img width="2260" height="1270" width_o="2260" height_o="1270" data-src="https://freight.cargo.site/t/original/i/46287178a36d99e640d29a70b1af2aa3982e50d534de9d709419ac7d4da0d27c/Screenshot-2021-04-05-at-19.00.01.png" data-mid="104323619" border="0" src="https://freight.cargo.site/w/1000/i/46287178a36d99e640d29a70b1af2aa3982e50d534de9d709419ac7d4da0d27c/Screenshot-2021-04-05-at-19.00.01.png" /> <img width="2256" height="1268" width_o="2256" height_o="1268" data-src="https://freight.cargo.site/t/original/i/b2ad57796f6b9cc116ad88e29cfd08ea6da68954da1bf83ad11aaa00cc03f4b0/Screenshot-2021-04-05-at-19.00.14.png" data-mid="104323618" border="0" src="https://freight.cargo.site/w/1000/i/b2ad57796f6b9cc116ad88e29cfd08ea6da68954da1bf83ad11aaa00cc03f4b0/Screenshot-2021-04-05-at-19.00.14.png" /> <img width="2262" height="1274" width_o="2262" height_o="1274" data-src="https://freight.cargo.site/t/original/i/28e112e619feacceeb66644cab8d06cc1df3104410027157579b03f149aa5198/Screenshot-2021-04-05-at-19.00.26.png" data-mid="104323617" border="0" src="https://freight.cargo.site/w/1000/i/28e112e619feacceeb66644cab8d06cc1df3104410027157579b03f149aa5198/Screenshot-2021-04-05-at-19.00.26.png" /> <img width="2264" height="1280" width_o="2264" height_o="1280" data-src="https://freight.cargo.site/t/original/i/bc5781f843d9b0c069bc387f9380618eb877cf6417e60a4834710613f5356f86/Screenshot-2021-04-05-at-19.00.40.png" data-mid="104323616" border="0" src="https://freight.cargo.site/w/1000/i/bc5781f843d9b0c069bc387f9380618eb877cf6417e60a4834710613f5356f86/Screenshot-2021-04-05-at-19.00.40.png" /> <img width="2258" height="1266" width_o="2258" height_o="1266" data-src="https://freight.cargo.site/t/original/i/01ab04f91ee603286674637c957dceceb20a17d2a9640b9f5bd70f20bf1a40eb/Screenshot-2021-04-05-at-19.00.54.png" data-mid="104323615" border="0" src="https://freight.cargo.site/w/1000/i/01ab04f91ee603286674637c957dceceb20a17d2a9640b9f5bd70f20bf1a40eb/Screenshot-2021-04-05-at-19.00.54.png" /> <img width="2548" height="1424" width_o="2548" height_o="1424" data-src="https://freight.cargo.site/t/original/i/b37f9904891ee5f265b04264eaffe95e59f3449747b93bcf45e83a4f4d26d06c/Screenshot-2020-12-07-at-14.24.06.png" data-mid="104321381" border="0" src="https://freight.cargo.site/w/1000/i/b37f9904891ee5f265b04264eaffe95e59f3449747b93bcf45e83a4f4d26d06c/Screenshot-2020-12-07-at-14.24.06.png" /> <img width="2270" height="1278" width_o="2270" height_o="1278" data-src="https://freight.cargo.site/t/original/i/79589febb0decf7ab1ffe765f90f97de814569a8bafeceef30d94f58f553eed3/Screenshot-2021-04-05-at-19.01.39.png" data-mid="104323614" border="0" src="https://freight.cargo.site/w/1000/i/79589febb0decf7ab1ffe765f90f97de814569a8bafeceef30d94f58f553eed3/Screenshot-2021-04-05-at-19.01.39.png" /> <img width="2268" height="1274" width_o="2268" height_o="1274" data-src="https://freight.cargo.site/t/original/i/627b7cd206eae827e524d6a6345b3a8b78c332b5a2fb41aa591d18cafa6a2fbf/Screenshot-2021-04-05-at-19.02.10.png" data-mid="104323600" border="0" src="https://freight.cargo.site/w/1000/i/627b7cd206eae827e524d6a6345b3a8b78c332b5a2fb41aa591d18cafa6a2fbf/Screenshot-2021-04-05-at-19.02.10.png" /> <img width="2266" height="1268" width_o="2266" height_o="1268" data-src="https://freight.cargo.site/t/original/i/b3675c06804ae818f01fb2bdb7cba4a58637866b02d2861158abf84c825bdd71/Screenshot-2021-04-05-at-19.02.23.png" data-mid="104323602" border="0" src="https://freight.cargo.site/w/1000/i/b3675c06804ae818f01fb2bdb7cba4a58637866b02d2861158abf84c825bdd71/Screenshot-2021-04-05-at-19.02.23.png" /> <img width="1100" height="620" width_o="1100" height_o="620" data-src="https://freight.cargo.site/t/original/i/5dbe09068d296d002b93402a176e17657ea6cc7492b37d0d90241c6a6fb1685b/screenshot-2020-12-07-at-14-21-45_orig-16.51.14.png" data-mid="104321386" border="0" src="https://freight.cargo.site/w/1000/i/5dbe09068d296d002b93402a176e17657ea6cc7492b37d0d90241c6a6fb1685b/screenshot-2020-12-07-at-14-21-45_orig-16.51.14.png" /> <img width="2270" height="1270" width_o="2270" height_o="1270" data-src="https://freight.cargo.site/t/original/i/53f6f593af68937a65f8ab82abcfe3b41c0333d7d6b92fcc776ec98ccaafb14c/Screenshot-2021-04-05-at-19.02.57.png" data-mid="104323604" border="0" src="https://freight.cargo.site/w/1000/i/53f6f593af68937a65f8ab82abcfe3b41c0333d7d6b92fcc776ec98ccaafb14c/Screenshot-2021-04-05-at-19.02.57.png" /> <img width="2272" height="1278" width_o="2272" height_o="1278" data-src="https://freight.cargo.site/t/original/i/fb28772e32654ae219796d40ab2ae54b09943c6cdc45047dfad4e93cb0c7e799/Screenshot-2021-04-05-at-19.03.12.png" data-mid="104323606" border="0" src="https://freight.cargo.site/w/1000/i/fb28772e32654ae219796d40ab2ae54b09943c6cdc45047dfad4e93cb0c7e799/Screenshot-2021-04-05-at-19.03.12.png" /> <img width="1436" height="1010" width_o="1436" height_o="1010" data-src="https://freight.cargo.site/t/original/i/a2324af7375ecd4b7b7ecc623bbd7270ae3548b9f70c4bf11448222a5fef42a9/Screenshot-2021-03-23-at-21.50.51.png" data-mid="104321377" border="0" src="https://freight.cargo.site/w/1000/i/a2324af7375ecd4b7b7ecc623bbd7270ae3548b9f70c4bf11448222a5fef42a9/Screenshot-2021-03-23-at-21.50.51.png" /> <img width="2264" height="1200" width_o="2264" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fbe21deeb9cfd0bc4ca97c71886dd8ceaaae7d07915bafb5c8eaa88c908af38f/Screenshot-2021-04-05-at-19.03.30.png" data-mid="104323609" border="0" src="https://freight.cargo.site/w/1000/i/fbe21deeb9cfd0bc4ca97c71886dd8ceaaae7d07915bafb5c8eaa88c908af38f/Screenshot-2021-04-05-at-19.03.30.png" /> <img width="2546" height="1436" width_o="2546" height_o="1436" data-src="https://freight.cargo.site/t/original/i/7798b18df030ce2165c223d286e96e207896434245360e7194f44c3072ca0fd9/Screenshot-2020-12-07-at-14.23.09.png" data-mid="104321376" border="0" src="https://freight.cargo.site/w/1000/i/7798b18df030ce2165c223d286e96e207896434245360e7194f44c3072ca0fd9/Screenshot-2020-12-07-at-14.23.09.png" /> <img width="2268" height="1276" width_o="2268" height_o="1276" data-src="https://freight.cargo.site/t/original/i/4b3aa79e28a9548057ee109b18bb9a63250660f7f103db57c8863a55875e5ad7/Screenshot-2021-04-05-at-19.03.44.png" data-mid="104323610" border="0" src="https://freight.cargo.site/w/1000/i/4b3aa79e28a9548057ee109b18bb9a63250660f7f103db57c8863a55875e5ad7/Screenshot-2021-04-05-at-19.03.44.png" /> <img width="2266" height="1282" width_o="2266" height_o="1282" data-src="https://freight.cargo.site/t/original/i/e60a1a7c525ea2940041f913e9782e54439949733fcf85fc019707c4517c4de2/Screenshot-2021-04-05-at-19.03.55.png" data-mid="104323612" border="0" src="https://freight.cargo.site/w/1000/i/e60a1a7c525ea2940041f913e9782e54439949733fcf85fc019707c4517c4de2/Screenshot-2021-04-05-at-19.03.55.png" /> <img width="2262" height="1270" width_o="2262" height_o="1270" data-src="https://freight.cargo.site/t/original/i/6771c5b0b5792360d394ac68be9d13adb564584a3b2d08e0927dc8c5b569348f/Screenshot-2021-04-05-at-19.04.11.png" data-mid="104323599" border="0" src="https://freight.cargo.site/w/1000/i/6771c5b0b5792360d394ac68be9d13adb564584a3b2d08e0927dc8c5b569348f/Screenshot-2021-04-05-at-19.04.11.png" /> <img width="2548" height="1434" width_o="2548" height_o="1434" data-src="https://freight.cargo.site/t/original/i/8dc90a72ea5371b766fe45c9bc9d24eec4fe37538e7ff4ec233863c32371cb67/Screenshot-2020-12-07-at-14.20.42.png" data-mid="104321375" border="0" src="https://freight.cargo.site/w/1000/i/8dc90a72ea5371b766fe45c9bc9d24eec4fe37538e7ff4ec233863c32371cb67/Screenshot-2020-12-07-at-14.20.42.png" /> This project was valuable because not only did I get the chance to learn a new software, but it also taught me how to transcend the limitations of live performance. Merging film and theatre as a medium allowed for a lot more experimentation of my own process creating set &amp; spatial design. It was also a vital performance-making adaption to social-distancing, so I really felt that I was allowing myself to explore the future of performance. I think the most important part of the process for me was being part of a team made up of 3 designers. We did not have a specialised writer, director, or producer so it really challenged us to use design as the visual dramaturgy. It also enlightened my process to consider dramaturgy a lot more in how narratives are structured especially. It’s not just about what visually flows, so I learned to balance decision-making based on visual design vs narrative. If I had the chance to revisit this piece, I would have liked to explore the dialogue a bit more. Isis picked an excerpt from the SCUM Manifesto, but given another chance I think it would benefit the thematic exploration to interpret our own version. I would have also incorporated more interactions with other characters especially in Valerie’s dream. Perhaps pulling from other people within her life at the time or in her past. That said though, this was not meant to be a biographical performance. Lastly, this project allowed me to extract bits of my own experience as a female artist in a male-dominated industry. I enjoyed the process of interpreting Valerie Solanas’ lived experience, but in hindsight, a lot of the commentary I suggested was based off of my own experiences. I think this project has taught me how to creatively and visually evoke my socio-political perspectives and use the performance as a vessel for that commentary. In other words, show not tell.&nbsp; ︎︎︎BACK TO PORTFOLIO NEXT PROJECT︎︎︎ https://jidaakil.com/Opera-Design Sun, 04 Apr 2021 18:55:42 +0000 Jida Akil Theatre Design https://jidaakil.com/Opera-Design ︎︎︎BACK TO PORTFOLIO <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/b2cc2f8be91f2b79119ef787c302070cde304adc014bbe6bdbd4b2ac55fbfb90/apollo.png" data-mid="105609201" border="0" src="https://freight.cargo.site/w/1000/i/b2cc2f8be91f2b79119ef787c302070cde304adc014bbe6bdbd4b2ac55fbfb90/apollo.png" /> Opera Design: The outcome is a speculative production design (set, costume, lighting). I was enquiring about a new performance genre: opera which ties into my background in classical singing &amp; classical music. Additionally, I was enquiring about the logistics &amp; practical elements of designing for large-scale venues like the Vienna State Opera and how to budget &amp; coordinate a design process as if it was a real production. Another element of the process was how to create a concept and world without a director, but with a co-designer and how to approach creating the concept as a designer who’s dramaturgical skills can be applied to the direction, choreography, and narrative.&nbsp; <img width="1652" height="326" width_o="1652" height_o="326" data-src="https://freight.cargo.site/t/original/i/4c92b1d0be5108dc5767a2075af6d98b4e5270f0f76628adfb43fff9b298c90b/Screenshot-2021-04-18-at-12.31.52.png" data-mid="105602169" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/4c92b1d0be5108dc5767a2075af6d98b4e5270f0f76628adfb43fff9b298c90b/Screenshot-2021-04-18-at-12.31.52.png" /> Please click on the below tabs to view the project: