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Inside/Outside: Scenic Design and th...

Khuen, Natalie.

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Inside/Outside: Scenic Design and the Actor-Audience Relationship.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Inside/Outside: Scenic Design and the Actor-Audience Relationship./
Author:	Khuen, Natalie.
Description:	7 p.
Notes:	Source: Masters Abstracts International, Volume: 52-06.
Contained By:	Masters Abstracts International52-06(E).
Subject:	Design and Decorative Arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1553954
ISBN:	9781303826542

Inside/Outside: Scenic Design and the Actor-Audience Relationship.
Khuen, Natalie.

Inside/Outside: Scenic Design and the Actor-Audience Relationship. - 7 p.

Source: Masters Abstracts International, Volume: 52-06.

Thesis (M.F.A.)--University of California, San Diego, 2014.

Designers communicate time, place and mood with our work in any medium, but the unique element of scenic design for theatre is the relationship between live spectators and live bodies onstage. In Hookman, I placed the audience on one side of the theatre to reinforce a filmic relationship with the action; scenery served to hide and reveal actors to build suspense. In both Elizabeth I and Tonight We Improvise I interspersed the audience and the actors in a non-traditional way, allowing for interaction with a meta-theatrical style. In A Willow Grows Aslant , the audience was literally inside of the play, moving through the set, participating in the action. For A Doll House, on the other hand, I put the audience outside of the home of the characters, peering in at them in a voyeuristic fashion through a barrier of snow and ice.

ISBN: 9781303826542Subjects--Topical Terms:

1024640
Design and Decorative Arts.

Inside/Outside: Scenic Design and the Actor-Audience Relationship.
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245 1 0 $a Inside/Outside: Scenic Design and the Actor-Audience Relationship.
300 $a 7 p.
500 $a Source: Masters Abstracts International, Volume: 52-06.
500 $a Includes supplementary digital materials.
500 $a Adviser: Andrei Both.
502 $a Thesis (M.F.A.)--University of California, San Diego, 2014.
520 $a Designers communicate time, place and mood with our work in any medium, but the unique element of scenic design for theatre is the relationship between live spectators and live bodies onstage. In Hookman, I placed the audience on one side of the theatre to reinforce a filmic relationship with the action; scenery served to hide and reveal actors to build suspense. In both Elizabeth I and Tonight We Improvise I interspersed the audience and the actors in a non-traditional way, allowing for interaction with a meta-theatrical style. In A Willow Grows Aslant , the audience was literally inside of the play, moving through the set, participating in the action. For A Doll House, on the other hand, I put the audience outside of the home of the characters, peering in at them in a voyeuristic fashion through a barrier of snow and ice.
590 $a School code: 0033.
650 4 $a Design and Decorative Arts. $3 1024640
650 4 $a Theater. $3 522973
690 $a 0389
690 $a 0465
710 2 $a University of California, San Diego. $b Theatre and Dance. $3 2094293
773 0 $t Masters Abstracts International $g 52-06(E).
790 $a 0033
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792 $a 2014
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1553954