About Arlene Schulman Expertise As a professional stage director and dramaturg, I have worked extensively with playwrights, lyricists and composeres in new play development. My areas of expertise are in character development, relationships, plot structure and stageability. I`d be happy to answer any questions in these areas, as well as in the process of getting a play from the page to the stage - including the stages along the way, director/playwright collaboration, the playwright`s place in rehearsals and so on.
Experience I am a professional stage director and dramaturg who has worked extensively in collaboration with playwrights, lyricists and composers on new plays and musicals. I have worked closely with them in the developmental process, helping to shape and edit their work - particularly in the areas of character development, relationships, plot structure and stageability - and acted as dramaturg and sounding board. I have brough these new plays to the stage in staged readings, workshops, showcases and full productions.
Organizations Society of Stage Directors and Choreographers - associate member Literary Managers & Dramaturgs of America - associate member Shakespeare Association of America The Shakespeare Institute -MA Candidate, "Shakespeare & Theatre"
Question Hi, alright
basically, the scene that I will be doing is a law-enforcement office
like.. a judge's or a police officer's
I was thinking, since I was going to make this a modern type,
and since the play is a satire of politics, that I would, first of all,
use the picture of President Bush in the background.
(you know how in a typical law enforcement office, they have
the pictures of presidents and important people and whatnot)
I was also thinking that maybe instead of the normal flag of the US,
I could have one with 51 stars with a very conspicuous 51st star
Although this may be offensive to some and very shallow (the whole
conflict about Iraq-how some say that Bush is trying to take over the world or just extend the US territories), I want to keep up the intention of the author to use shallow but direct satire (which was definitely offensive at the time). It would be effective and in line with the author's original meaning, while being modern and how I want it, because the message would be so simple that everyone would get it, but still have a strong message.
Also, it is supposed to have a big window: big enough for a man to fall through. The play is titled the Accidental Death of an Anarchist because in the story, corrupted inspectors throw an anarchist out their window and kill him because they could not frame him with a bombing.
However, I still don't have a specific idea on what to do about the window. The window should definitely attract the attention, so it probably should be in center stage? Also, some advise on the materials to be used for the window would be very appreciated. The story has it that it should be clear that the room is about three stories high.
Lastly, I was wondering what else I might need in the scene. I need a desk, but I don't really think that there has to be a specific design or a message behind the desk. What else do you think may be helpful to add to the scene to portray the satire of politics today and still be fit inside the setting of a 'law enforcement's office?'
I really do appreciate you taking your time to answer my questions
thank you.
Anthony
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Followup To
Question -
Hi again! Thank you so much for being willing to help
I was just wondering if you were familiar with the play
"The Accidental Death of an Anarchist" by Dario Fo
because that's the play that I am going to be working with.
And the style is going to be just plain modern style
If, by any chance, you're not familiar with the play
I guess I could give you a brief summary or something
along the lines of that.. anyways, thank you again!
Anthony
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Followup To
Question -
Hi, my name is Anthony Park and I am a part of a gifted high school program known as the International Baccalaureate Program. As a student of the IB senior theatre class, I am required to write an extensive research paper on a play. The project is called the 'research commission' and it is basically for me to pretend that I am a scene designer for a specific play and I am supposed to suggest how the scene may be set (in a certain style). For this research, I am required to have a few professional sources, but I was not able to find any near me, so I was wondering if you would like to help over a period of time, and also if you could find anyone else that may be able to help me, such as real scene designers or directors. It would be great if you could help. Thanks!
Answer -
Hi Anthony,
Sure, I'd be happy to try to be of help, if I can. I am a professional director and I have done set design as well. Sorry I can't recommend anyone else to you (I don't generally impose on my professional contacts with things like this unless they have themselves offered their services to an expert site or something similar). But I'd be happy to give you what help I can. Feel free to contact me at this site whenever you have questions. That's what I'm here for.
Best,
Arlene (MsDirector)
Answer -
Hi Anthony,
Sorry, no, I'm not familiar with that particular play. But then I'm not going to do your work for you by giving you specific staging anyway, so knowing the specifics of the show shouldn't be that important. A description would probably be sufficient for me to help guide or advise you on specific problems you might be having with the project or on ideas for design or direction in general.
Best,
Arlene (MsDirector)
Answer Hi Anthony,
It seems to me that you are on the right track. Aside from the specifics of the contents of the room, think of how the room is laid out - where the desk is, where the doors or other entrances or exits are, where the chairs are set so that the action of the scene is visible from the audience.
As for the window... think... is the window the focus of the scene, or are the characters and the action of the play? I don't know the play, so I don't know the answer. If the window is a focus... if the view out the window is important, if there is dialogue about the window, if there is action pertaining to the window, then you may want to place the window upstage center - perhaps behind the desk or with the desk at an angle to one side of it (desk chair toward the "corner" of the "room"), making the window the point of focus of the room. If you do this, then there needs to be some kind of drop or backdrop set some feet behind the window so that the "view" out the window can be seen realistically by the audience, but the actor would still be able to be "thrown" through without moving it and breaking the illusion. The backdrop would be painted to depict what you would see out the third story window.
If, however, the focus of the scene is the action of the characters, and the window is simply a window in an office until the moment that the character is thrown through it, then I would suggest keeping it simple. Place the window on one side or the other of the stage, essentially inconspicuously. You can place a black curtain behind it to mask the area behind it from the audience viewpoint, or you can use a painted backdrop if they can see it and you want it to show the view, but it can be an upstage angle and won't hinder someone being thrown through it. We used a window similar to this in a number of plays that I have done, with actors climbing though, diving through, and being thrown through very easily.
Depending on how the set is designed, you can make the window from a standard window flat - that is, usually, a 4x8 ft. flat with a window built into it and attached to the other wall flats that support it. The flats are framed in 2x4's and covered with either sized canvas or sometimes wood paneling.
If it is a less realistic setting, you can hang a window "frame" by cables or cording from the flies (the piping above the stage meant to hold lighting and drops and other scenery that is "flown" up above the stage and down when it is needed. The window then can be anchored to the deck (floor) of the stage if necessary so that the actor can be thrown through with it moving. In this case you might want to mask the bottom so you don't see the actor "land" after being thrown out.
As for the rest of the room, it sounds like you've got it pretty well in hand. Think about what kind of an office this is. A judge's office is very different from a police office. Think about what is in the office - a desk, a chair or two. Not much else is necessary but more could be there. A police office might be pretty stark. A judge's office might have a small couch or loveseat in addition to the desk. What would be on the desk? When does this take place? A telephone, a desk pad, papers, pens/pencils, maybe a picture frame, maybe not. Does the desk needs drawers for the scene? Do you need a wastepaper basket? What happens in the scene? Read it really well to see what props are used or if anything specific in the room is refered to. The president on the wall makes sense. As does the flag (although I'm not sure about the 51st star - but that's a design detail that a director would approve or not depending on whether it fits his/her vision of the play). Remember that the design details should be supported by the play itself and not be layered on simply to make a current statement. If it can do both, then great - use it. If not, then be very careful because it will detract and distract from the play and the scene. The first function of set design is to support and enhance the text, not to stand above it.
