2008 --

... blog

picasa albums-guide

... where arethe shots from the show!?

Dangerous Liaisons *
direct.vtheatre.net for design

Interaction of light and surface...

Danceny -- Blue Picasso? A boy?

The end of Merteuil:


Flesh without bones, or "Body without Organs" (Deleuze).

{Images from Acting/Directing pages}

Fixed Poses! Like sculptures

Where is "Danie" by Klimt? Somewhere in the middle.

Ivory... Marble, sculpture, like at the cemetery. Moonlight.

What are the sounds?

Moving and static: tempo?

Must be destorted, colorized, solorized, effects.

And the curtains above move, breath...

Always starts with the actors, extending them to rest of the stage, according to their dramatic need!

Check the writing on Eisenstein images, producing physiological, not psychological effect on spectator ***

Must have images of the old, ugly, sick men and women for the montage on the screen, including the dead bodies (Valmont's thoughts during the sex scenes).

How to bring homosexuality: the moment gender is destroyed it steps in -- Valmont-Danceny, Valmont-Azolan and Merteuil-Cecile? Downstage -- to sujject; on the screen to show?

Some poetry in French!

Maybe quotations of the period on the scene betweeb the scene (like themes/titles)? Name each scene!

Collect the sounds! Not only the erotic one, but the strange. Valmont alone screams like animal, appereantly without any reason (connect with the images on the screen) -- is he the only one who see them? What about Tourvel (when she began to see them)? Mertauil knows about him and his secret madness (does she see the images/dream/nightmares)? His only?

Continue themes/images in Don Juan 2003

16 transitions + preshow, curtain call (and in and out of entermission)

I had drop the "Evolution of Revolution"

Comic relief (servants mostly) worked. In combination of the live action on stage during the transion between scenes.

Characters and story reinforced. We recognize their profiles and scenes from the plat.

Changes on stage - in characters!

Shadows: big, small, dinamic -- especially, love and death scenes.

Period French Fine Art (no photos, we tried to mix), postcards against style

Texts (over images and on colored screens) before each new scene saved us time, establishing, where the action takes place.

How to use it next time? I will design Don Juan myself.

Must be BM + Method: interaction between - movement, thought, costume and body (and text). Reread the Book of Spectator

Photos UAF April 19 - 28, 2002 Kade Mendelowitz: Lighting Designer appendix

... when to come back to fix this page (directory)?



... thoughts/pre-production
Should the backdrop be 3D -- with the dresses glued on? One of them.

Curtains, heavy, light. They change the configuration. Maybe with the projections on them. For the duel scene, all is lifted up. Empty stage, big space -- and snow.

The furniture is coved with the offwhite sheets. Everything as the bedroom.

One level only? Stair? Like in Meyerhold's ?

Not only the configuration of the curtains changes between the scenes, but during -- should look like body forms, sentual and sexual. Or clouds...

Nobody touches anybody, even themselves. The gaze, air only. Dancing.

The costumes must be balanced, stressed by the opposite -- flesh.

First, sound... Rain, drops, wind, storm, thonder strikes and ... Music? Or a single voice with no words, opera warmups.

During the sex scenes downstage, as projected to...

The back screen/shadow theatre (pre-recorded and live):

Several functions, but first -- the transfoemotation to the view on flesh from after the death.

The screen, images and live shadows work!

Is it a part of the Virtual Theatre philosophy?

SUMMARY (list, right)




Woman: webpage made for Franks&Stain production (dream of a monster about a woman). I place all the images from the "weapps gear" on this page, because I want to have Valmont's POV (his mindscape) -- he is not getting it too, many women, because he can't find the One. Tourvail? He blew it. The inner (emotional architecture of the show). [Rafaella, this is for the screen and shadow theatre (live).]


Desire (Soul, Heart) => Body (through Costume) => Space around (light) => Movement => Mise-en=Scene

Sounds. But what about the smell (the sense of it, maybe even the taste induced by imagination in the public).



The actor is the centerpiece of the set. Everything DESIGNED to focus the oublic on ACTING. You must know how to make Light, Costume, Set, Prop to ACT! This is your resposibility.


Color, texture: glass, mirrors, bronze, metal -- sylver, red wine (blood), rosy, black, hovey (gold), pichy, green-leaves, white...


Night lighting; to use the candles (aroma)? Big windows like shows on the curtain (gobos).


The backdrop for the shadow theatre. The sex scenes and the fire (revolution) at the end (red). Starting with the duel scene?
Next: Costumes
@2002 Dangerous Liaisons *