Wesleyan University
DESIGN & THE PERFORMATIVE SPACE
Syllabus: Fall 2014
INSTRUCTOR: MARCELA OTEIZA
Class hours: T - TH: 13:10-14:30
Location: TST 115 (Design Studio)
Instructor’s office: TST 110-116
Office hours: T- TH14:30 -4:00
E-mail:
Phone: (860) 685-2740
A. DESCRIPTION:
In this course, we will explore, construct and deconstruct the performative space, whether theatrical, site specific or virtual. We will analyze the space as a context to be activated by the body of the performer and witnessed by an audience. Through practical assignments, we will study the aesthetical history of the theatrical event (plays, ritual, political parades, internet performances, etc.), while developing your own creative design process (visual, kinetic, textual, etc.). You will be guided through each step of these processes in a formal approach: concept development, visual research, renderings or drawings, model-making and drafting.
We will give special emphasis to the construction of contemporary performance in alternative, non-theatrical spaces. Students will create and design spaces, while designing and realizing visual objects, and integrating the notions of design principles and performance elements.
Students will have the opportunity to develop skills using 3D drafting and 3D modeling software utilizing cutting edge design technology, such as laser cutter, 3D printer, and 3D scanner to develop and enhance their work.
B. OBJECTIVES:
Our main objectives in this course are:
-To learn how to transform a written text or a concept into a visual design.
-To learn and understand how our creative-process works.
-To acquire basic elements and principles of design.
-To acquire basic design techniques: Drafting, Rendering, Model making.
-To acquire basic design techniques utilizing Vector Works and CGI software and laser cutter
C. COURSE STRUCTURE:
Design and the performance space is a project-based course where each class will consist of a guided studio work plus pertinent discussion of art/theater history and art criticism, within the context of the assignments.
D. ASSIGNMENTS:
In this course,you will be asked to complete weekly class assignments, as well as twofull-realized design projects.The first design projectis based on As five years passby Federico García Lorca, and the second design project isbased on your text/play of choice.
E. MATERIALS
1) Drafting
Download vector works at:
(second week)
2) Rendering
Supplies will depend on the medium utilized by the student. (Computer-basedPhoto-shop and sketch-up, drawing, collages, painting, etc.)
3) Mode-making
X-acto knife, metal ruler, scenic glue, cutting board, Bristol and mat board, spray adhesive, spray paint (black). Student may need to acquire other art and craft supplies specific to their individual projects. (By second class) Students will use the laser cutter located at the arts wood shop and the 3D scanner and printer located at the design studio.
4) Studio
Locker lock provided by the department, please pick-up at the theater department office(with our administrative assistant).
5) Projects
Materials will depend on design choices. Costume Shop and Scene shop open for student use.
F. READINGS
Required: Theatre and Performance design edited by Jane Collins and Andrew Nisbet, Routledge 2010.
Recommended:
Space and Place by Yi-Fu Tuan 1977
Stage Designers in Early twenty century America: Artists, activist, cultural criticsby ChristinEssin, Theater and Performance Collection, Palgrave 2013
Performing Ground: Space, camouflage and the art of blending in by Laura LevinTheater and Performance Collection, Palgrave 2013
Essays on the Blurring of Art and Life by Allan Kaprow (1993)
G. GRADING
Student participation in the class discussions and readings20%
Weekly exercises 40%
Design I 20%
Design II 20%
H. ATTENDANCE
You may miss the class two times for any reason, including family emergency. Use them wisely, because the third absence, for whatever reason, will mean the failure of the class. There are also dates that are mandatory - the days of your project showing. If you have a true emergency, it’s your responsibility to arrange in advance with the professor. Three late arrivals are equivalent to one absence. I will not accept late work unless in the case of true emergency.
I. CLASSROOM POLICY:
All members of the class are responsible for contributing to the group's collective artistic work with seriousness and dedication.
Just as the student has a right to expect the professor to be prepared for all class meetings, so the professor expects students to assume responsibility for preparation and participation in the class work.
Students must come to class at least five minutes prior to class time.
No cell phones/beepers on in class.
Food is not permitted in the classroom.
J. DISABILITIES RESOURCES
Wesleyan University is committed to ensuring that all qualified students with disabilities are afforded an equal opportunity to participate in and benefit from its programs and services. To receive accommodations, a student must have a documented disability as defined by Section 504 of the Rehabilitation Act of 1973 and the ADA Amendments Act of 2008, and provide documentation of the disability. Since accommodations may require early planning and are not provided retroactively, please contact Disability Resources as soon as possible.
If you believe that you need accommodations for a disability, please contact Dean Patey in Disability Resources, located in North College, Room 021, or call 860-685-2332 for an appointment to discuss your needs and the process for requesting accommodations.
K. NOTES:
You are encouraged to take advantage of instructor office hours for help with coursework or anything else connected with the course and your progress.
I may make any reasonable changes to this syllabus and course outlines.
H.CALENDAR
Week #1:Sept 2- Sept 4 / Play: As five years pass by Lorca
See: Dali-Buñuel
Read:As time stands still: Federico García Lorca As five years pass by Oxman
Week #2:
Sept 9- Sept 11 / Read:Assemblages Environments and Happenings by Allan Kaprow
Bring: Visual research
Week #3:
Sept 16- Sept 18 / Read: Man art and figure by Oskar Schelemmer
Weekly exercise: Module 1 Scale options are: 1/8" 1/4" or 1/2"
After reading and seeing video of Oskar Schlemmer work, create a model for As five years pass, utilizing a Module (object or element) design, utilizing design principles (scale, texture, color, etc.) (See blog for link to design principles).
When you present your model, be sure to know:
1) Point of view of audience
2) Audience configuration (tennis court, thrust, arena, etc.)
3) Why you chose the module that you are using and how it relates to your understanding of the play.
4) A scene in which your design can be used.
Have in your model: Scale human figure and a defined audience area.
Also, a link to the theatrical machines’ animations is on the course blog under design history: the developing of scenic spectacle.
Week #4:
Sept 23- Sept 25 / Read:Six axioms for environmental theatreby Richard Schechner (article under course documents)
See:
Weekly exercise: Rough model 2:environment
Create an environment for As five years pass. Please consider the following:
-It could be a fully transformed theatrical space or a found space
-The focus is flexible (audience)
-All production elements speak their own language (including text)
-For each production all the space is designed.
-The design takes into account space-senses and space-fields.
-Every part of the space is functional.
-The environment evolves along with the play it embodies.
Week #5:
Sept 30-Oct2 / Read: On Immersive Theatre by White
Weekly exercise 3: interventions
From a scene of As five years pass, develop one action.
Make the action in 4 different locations thinking of the audience/performer,performer/space, and audience/space relationship. When you are choosing locations, take into consideration:
Place in relation to context: usage, flow and history.
Place in relation to architecture: materials, color, texture and style.
Body in relation to place. How is the body clothed? Color textures, time period, references, etc.
Body in relation to audience. How is it being seen? Is it close to us? Is it live? Is it mediated? Can we just hear it? Is it us?
Write a one-page report explaining the conceptual idea behind your action,in relation to the scene and the play, as well as your aesthetic choices based on your own understanding of the play and how it connects to White’s idea from on immersive theatre article.
Be ready to show your action during class next Tuesday
The Builders Association – Sontag: Reborn
Thursday, October 2-3, 2014 at 8:00 PM
CFA Theater
“A spellbinding x-ray of a writer’s psyche” (The New York Times) explores the private life, loves, and idiosyncrasies of Susan Sontag in the Connecticut premiere of this solo show.
Week #6:
Oct 7-Oct 9 / Thursday: bring materials to cut (laser cutter material dimensions:18”by 32”)
Vector works and 3d modeling work-shop
Outside the Box Series: Lecture with Lin-Manuel Miranda and Quiara Alegría Hudes**Monday October 13, 7pm
CFA Theater
Week #7
Oct 14-Oct 16: / Showings:
Final Model Floor plan and Renderings for Project 1 As five years pass
Week #8:
Oct 21-Oct 23
Fall Break
½ week no classes Oct 21 / Read: Project 2 (play of choice)
Consider why you chose the text (aesthetically and conceptually)
Bring: Historical and visual Research for your play or text of choice.
How you are thinking of working with it (possible methodology)
Please note that after you start to work with your text, you might change your initial ideas.
Week #9:
Oct 28-Oct30 / Weekly exercise: 3DModel 1
Please be prepared by closely reading each student text and by bringing a minimum of 3 questions related to a conceptual take of the text, staging, etc. for your classmates.
Outside the Box Series: Lecture with Leigh Fondakowksi
Tuesday October 28, 7:30pm
CFA Theater
Week #10:
Nov 4-Nov 6 / Read: Postmodern design by Arnold Aronson
Weekly exercise: 3D model 2
Rough Model
Read the article: Post Modernism by Arnold Aronson and build a set for your play utilizing "contemporary" approaches to design as defined by Aronson: Appropriation, juxtaposition of styles and/or time period, addressing mixed audiences, etc.
A good idea is to start with a found object and see how it could jump-start your design.
If you need additional information to understand modern and post modern you can read Arthur Danto's Introduction Modern, postmodern and contemporary from "After the dead of Art" (1996)
Week #11:
Nov 11-Nov 13 / In the Heights
Saturday, November 13-14-15-16, 2014 at 8:00 PM
CFA Theater
Week #12:
Nov 18-Nov 20 / Read: "Visual Composition, Mostly" by Foreman
Weekly exercise: 3D model 3
After reading "Visual Composition, Mostly" by Foreman, watch the video excerpt of "Wake up Mr Sleepy". Choose a scene or a moment from the text you are working on and design it. Be sure that you completely understand and are able to show the function of each object, set piece, lighting, blocking and narrative.
Consider looking into concepts of horror-vacui, kitsch, neo-gothic, fragmentation, purity and impurity, as examples
Week #13:
Nov 25-Nov 27
Thanksgiving Break
½ week no classes Nov 27 / Read: site-specific (2000) by Nick Kaye
After reading Nick-Kaye site specifics text and utilizing a concept that you are investigating for your play or text of choice, create a public space intervention in which the transient space can be transformed into a place for its users.
Week #14:
Dec 2-Dec 4 / Class work Model and/or Drafting
The Serpent: Senior Thesis Production by Sivan Battat
Friday, December 5-6, 2014 at 8:00 PM
Patricelli ’92 Theater
Final / Full scale work showing Project 2
1