1. THE HONG KONG ACADEMY FOR PERFORMING ART
GRADUATION PROJECT
2015 - 16
DD Chan Sze Nga
BFA 4 - Set & Costume Design
A21664
Drama1
The Wilderness《原野》
Set Associate Designer
2. 2
CONTENTS
1. INTRODUCTION
1.1 Outline of Project P.4
1.2 Set Associate Designer role and duty P.5
2. SYNOPSIS P.6
3. PLAYWRIGHT RESEARCH
3.1 Playwright background P.7
3.2 List of Plays and other works P.7
4. SCRIPT ANALYSIS
4.1 Analyzing the needs of the play 4.1.1 Information from the Script
4.1.2 Scene breakdown chart
P.8
P.9-15
4.2 Physical Limitations P.16
4.3 Artistic Choice of Director P.16-17
5. DESIGN PROCESS
5.1 Design concept and idea 5.1.1 Overall inspiration
5.1.2 Overall mood
5.1.3 About the forest
5.1.4 About shadow effect
5.1.5 About Daxing’s house
5.1.6 About train and train track
5.1.7 About filmic elements
P.18-19
P.20
P.21-24
P.25-26
P.27-29
P.30-31
P.32
5.2 Design Development 5.2.1 First discussion with Designer
5.2.2 Sketch and Inspiration
5.2.3 First meeting with Director
5.2.4 First Development of Concept
5.2.5 Sketch model
5.2.6 Second meeting with Director
5.2.7 Development of design
5.2.8 Modification of Design
P.33
P.34-35
P.36
P.37
P.38
P.39
P.40-49
P.50-52
5.3 Final Design 5.3.1 Details of Final Design P.53-58
3. 3
5.4 Design Realization 5.4.1 Scenic and lighting test on wall
5.4.2 Tree texture and swing mechanism
5.4.3 The shadow effect
5.4.4 Modification of gauze design
5.4.5 Modification of train track
5.4.6 Modification of rock
P.59-60
P.61
P.62
P.63
P.64
P.65
6. ADJUSTMENT AFTER MOVE-IN P.66-68
7. SHOW PHOTOS P.69-80
8. CONCLUSIONS AND REFECTION P.81-82
9. BIBLIOGRAPHY P.83
10. APPENDICE AutoCAD Drawing
Furniture List
Props list
P.84-99
P.100-101
P.102-105
4. 4
1. NTRODUCTION
1.1 Outline of Project
I am writing this report about the graduation project on Drama 1, The Wilderness. This is
a drama production, which was held in the Drama Theatre from 18th-21st November 2015.
The play has realistic themes. However, because the director has directed this play before, his
intention for this performance was to create a less realistic style by incorporating filmic
elements into the staging in the drama theatre. I was the Set Associate Designer in this
production. Details of duty will be shown in P.5. I will focus on design concept and process in
P.18-P.68. And I will show the production photos and conclusion in P.69-80.
5. 5
1.2 SET ASSOCIATE DESIGN ROLE
The role of the Associate Designer can be defined as someone:
“Engaged to manage the realization of the design when the designer is unavailable to do this, and
may have an intimate knowledge of all design aspects of the production. It is a position requiring
a high level of design understanding with considerable responsibility, and accordingly an
associate designer is likely to have at least 5 years’ pro- fissional design experience”.1
In the beginning of ‘The Wilderness’, the Set Designer (Jonathan Wong) and I discussed
how we would work together. We decided that I would handle most of the design process,
because it was my graduation production. These were the areas I was responsible for:
• Research for Playwright’s background, story period & characteristic
• Script analysis, create scene breakdown
• Create theme, concept and idea
• Meeting and work with Director, Movement Coach and other departments
• Design scene change
• Set Design for every scene
• Sketches and 1:25 model making
• AutoCAD drawings, update and correction
• Budget consideration
• Decide material and color
• Furniture design and searching
• Props design and searching
• Observation of and following set building process
• Problem solving of technical issues
• Joining all rehearsal, run-through
Besides the above responsibilities, I also kept in touch with the Designer to keep him
updated about the process and discuss the setting. The final version of set drawings were
approved and sent out by the Designer.
1
THE APDG DESIGNERS FOR LIVE PERFORMANCE PHILOSOPHY AND PRACTICE GUIDELINES.
http://www.apdg.org.au/wp-content/uploads/2015/02/APDG_PP_GUIDELINES_FINAL.pdf The Australian
Production Design Guild Guidelines (2007)
6. 6
2. SYNOPSIS
The story starts in the early Republic of China. There is wilderness, a train track and
nearby there is a lake in the forest. And there is only one house far away from the wilderness.
This is a quiet world.
Chou Hu is an inmate. He jumps from the train and escapes to the forest for revenge.
Local tyrant Jiao Yanwang has robbed his family members have been savagely murdered and
farmland. Also Chou Hu has been locked up in prison for eight years! Then Chou Hu found
out the tyrant has been dead for two years and his fiancée Jin Zi has forced to marry to
tyrant’s son Daxing! Chou Hu is really angry. Daxing and his wife Jin Zi appear. He needs to
go away and work for some time. After Daxing has left, Chou Hu appears and asks Jin Zi to
leave with him, Jin Zi takes Chou Hu home. And they later have an affair in Daxing’s home.
Daxing’s mother suspects someone is having an affair with Jin Zi, therefore send
ChangWu to check on her. ChangWu accidently told Jin Zi, Daxing is heading back. After
that, they plan to kill Daxing then go away and take the train to their paradise. When Daxing
arrives home, Daxing’s Mother forces Jin Zi to tell them who she is having an affair with,
Chou Hu appears.
Chou Hu and Daxing reunited and are drinking together. Chou Hu thought of a story to
let Daxing know he is having an affair with Jin Zi and he is coming back for revenge. Daxing
feels angry and sad, he wants to kill Jin Zi but he could not do it. Chou Hu then uses a knife to
kill him while Daxing sleeping. Then they escape to forest.
After that, Daxing mother wants to kill Chou Hu but she has accidently killed her
grandson. She found her son also already dead, therefore she feels extremely sad and run to
the forest. The police go to the forest to hunt Chou Hu and Jin Zi in the same time.
At midnight, Daxing’s mother carries the dead baby and takes the red lantern to go after
them. And the police keep hunting them. Chou Hu and Jin Zi want to go through the forest to
arrive to the train track and take a train, but they get lost. Chou Hu has hallucination because
he feels guilty. They feel tired and Jin Zi hears train sound. Then they return to the lake and
see the fetter. Chou Hu picks up the fetter and remind Jin Zi give birth to their baby. Saying
he would rather die than be caught again. Then he run to the train track suicide by train hit. At
the end of story, Jin Zi sits in the train and the train heading for distant paradise.
7. 7
3. PLAYWRIGHT RESEARCH
3.1 Background of the playwright
Cao Yu (original name Wan Jiabao, 1910-1996) was a
renowned Chinese playwright. He was born into an upper-class
family. During his childhood, the governess taught classical
literature to him at home.2
He follows his stepmother to watch
different Chinese traditional opera such as Peking opera, Kunqu
etc., also include western style plays, which was famous in that
period. He built up his knowledge of the theatre in his childhood.
During 1920s-1930s, he educated at Nankai University in Tianjin
and Qinghua University in Beijing, where he studied
contemporary Chinese literature and Western drama. And he focus on studying from Ancient
Greek Tragedy to Shakespeare, Chekhov, Ibsen and O'Neill. Through his studies of his last
year at the university, Cao Yu completed his first work, Thunderstorm (1934) and Sunrise
(1936) and The Wilderness (1937).3
He was foremost pioneer of modern drama (“word
drama”) in China, which genre influenced by Western theatre rather than traditional Chinese
drama (which is usually sung) in the 20th century. His most well known works are
Thunderstorm (1933), Sunrise (1936) and Peking Man (1940).4
3.2 List of Plays and other works
• Thunderstorm (雷雨 Leiyu), 1934.
• Sunrise (日出 Richu), 1936.
• The Wilderness (原野 Yuanye), 1937.
• The Metamorphosis (蛻變 / 蜕变 Tuibian), 1940.
• Peking Man (北京人 Beijing ren), 1940.
• The Bridge (橋 / 桥 Qiao), 1945.
• Bright Skies (明朗的天 Minlang de tian), 1956.
• Courage and the Sword (膽劍篇 / 胆剑篇 Dan jian pian), 1961.
• Wang Zhaojun (王昭君), 1979.5
2
The Editors of Encyclopædia Britannica (2016) Cao Yu Chinese author;
http://global.britannica.com/biography/Cao-Yu: Encyclopædia Britannica, Inc.
3
vivina (2010) 曹禺; http://www.zwbk.org/MyLemmaShow.aspx?zh=zh-tw&lid=92991: 中文百科在线
4
An Introduction to Cao Yu;
http://www.wreac.org/chinese/events/past/cao-yu-centenary-in-britain/an-introduction-to-cao-yu: The White
Rose East Asia Centre (WREAC)
5
From Wikipedia, the free encyclopedia Cao Yu; https://en.wikipedia.org/wiki/Cao_Yu: Wikimedia Foundation,
Inc
8. 8
4. SCRIPT ANALYSIS
4.1 Analyzing the needs of the play
4.1.1 Information from the Script
The play is divided into 4 Acts (include prologue). Prologue is set on the train track and
the forest. Act 1 and Act 2 are located at Daxing's house after ten days. Act 3, same night in
the forest and go back to train track in the end.
The characters are moving around in the forest, so the location changes is required to be
hown. They arrive in different part of the forest, such as a lake, a temple, a ruin and a swamp.
There are many tall trees with branches and leaves blocking the sky. It is misty everywhere
therefore atmosphere of danger prevails. In Act 3 the forest gives an unreal feeling to present
character's hallucination and memories.
About Daxing’s house, the script describes it as having a living room, two windows near
the main door and two bedrooms. The outside of the house has a fence and nearby there is a
train track. Inside the living room, there is a painting of the tyrant and a Chinese saber
hanging nearby, a small shrine for Buddha and in front of it is a red mat, a square table with a
few chairs, a bench and a cradle with baby. Also there could be a textile machine. An old
cabinet and some props are hanging on the wall.
The story happens mainly in the living room. The noise from the bedroom can be heard in the
living room. Sometimes the wall reflects or shows character's memory and dream.
Besides, there is a train track located in the nearby forest. It is used during the prologue,
when Chou Hu jumps out of the train. Also in the end of the story, Jin Zi takes the train to
escape.
16. 16
4.2Physical Limitations
Renovations were being made during the time of this production. Therefore, we did not
have enough space to place a big set piece. So I needed to avoid designing a set that would
occupy a lot of space. The shape and form of set needed to be simple. It should split into
different smaller pieces. Also the Scenic department could only supports a simple paint color
tone, such as monotone and black and white, which did not require too much time to mix.
4.3Artistic Choice of Director
About incorporating filmic elements into the play. The Director had directed this play
before. So he wanted to create less realistic style of the set. During some special moments, he
would try to use shadow effects combined with body movement. For example, Chou Hu's
memory and his hallucination, the location changed within the forest, train outline in Act 3.
Shadow effect combine body movement
Performers also used other props such as cardboard to help them create a car
or a structure.
Shadow effect combine with body movement
Performers though their body movement to build up different shape and form
to outline of set or an object.
17. 17
He wanted to add Chou Hu's sister who vaguely appears in his memory. Also the
Director wanted to use the filmic elements to present some important moments. In order to
create an impressive opening, the Director wanted Chou Hu jumped off the train and the train
itself appear in the prologue. Below are some images that I found which I think represent the
effects he potentially wanted for this scene.
Besides, the Director wanted to use multimedia such as projection on gauze. The
projection would present Chou Hu’s memories and associations when he looked at the water
reflection in prologue.
(i) The train comes from a distant
in the beginning of story.
(ii) The train light becomes a long
line from stage left to stage right
when the train running.
(iii) Then Chou Hu jumps from the
train (with smoke effect).
18. 18
5. DESIGN PROCESS
5.1. Design concept and idea
5.1.1 Overall inspiration
Reference photos for me to make the overall inspiration for the play:
About the Wilderness concept, I think the character Chou Hu is like a tornado. He comes very
suddenly. From his coming to killing Daxing, and dying in the end of story. These things
happen in a very short period, just like the weather turning into a tornado until it dissipates.
This process is very short and sudden.
Moreover, it has a strong power to destroy everything such as when he kills Daxing.
When people come in contact with Chou Hu, he tends to hurt them unconsciously. An
example of this is the death of Daxing's baby because he does not intend to kill the baby but
indirectly makes Daxing’s mother kill the child.
19. 19
This part of the image makes me think there is a forest. The forest has an original pattern.
When Chou Hu is coming, he's just like a tornado, destroying the original quiet forest pattern.
Also the image looks like the trees swing to different sides. It represents Chao Hu destroys
everything and the forest becoming messy.
The red line resembles a train behind the forest. It is moving very fast. Also the red
color inspires me to use the lighting to present the fast speed of train.
The other broken lines of image make me feel there are broken train tracks that represent
no hope. And this inspires me to design contrast between a broken train track and complete
train track, which represent "hope to future". It makes a contrast with hope and no hope.
Besides, the image looks like Daxing’s house in front of the forest. I think the house
should merge with the forest. And the image looks like there is mist around the environment.
20. 20
5.1.2 Overall mood
About the mood of the story, it is located in the north of China. And it is far from
the sea. So there is dry and desolate weather during all four seasons. The script indicates it is
autumn, highlighting a more lonely and desolated feeling of the play.
Because I was an art festival volunteer in 2015 summer, I got many ideas and
images for the set design from Japan. In Japan, I was visiting the countryside, which was a
huge plain and forests. When I was reading the script, the mood of where I was staying
matched the script. An example was this photo below that caught the sunset moment with a
beautiful warm color in the sky. The place was wide, had very few people and was quite. I felt
this sunset brought out lonely and sad feelings, just like as if I was locked in this wilderness
and time had stopped in this moment. The colorful sky contrasted with the monotone of the
surrounding. The trees were faded in the photo, which inspired me to design monotone color
for the forest.
The color tone of sunset with vast sky gave me the feel this was match for the script
21. 21
5.1.3 About the forest
From the script I got that forest was mainly composed of poplar trees (白楊樹)6
.
And the script included many symbolic icons such as poplar. The poplar tree symbolized
Northern Chinese farmers and represent they never give up to survive. Also I found this
meaning from a Chinese writer an essay Praise of White Poplar7
in 1941 to praise poplar.
Also during my research, I found out the poplar tree has a number of mythological
meanings. It made its appearance in the script not accidental. Such as in Greek mythology, the
poplar tree grew beside the gates of the underworld. I Celtic mythology, this tree was a
symbol of transformation and vision. Therefore, the forest is a special place in the script also
the play. It means the forest transforms to be a dark underworld, to tortures people with
different horrible vision. So I put this important key element to my design.
6
黛珂(2010) 白楊樹; http://www.zwbk.org/MyLemmaShow.aspx?zh=zh-tw&lid=89752:中文百科在线
7
茅盾(1941) 白楊禮讚; http://www.skhsbs.edu.hk/chi/ref/Artical/80.htm
The poplar height is 15m to 30m. It is white to gray color tree bark, which have rough base skin. It is a very
common tree and strong viability in China. Poplar is very useful that can used for
firewood, furniture, house
beams, and farm tools.
22. 22
About the forest pattern, I wanted to present a forest that felt like a prison. I got the inspiration
from photos of Japanese forests. Based on the photo, I designed the forest pattern have a tidy
layout. It presented the idea that people were trapped in this still and stagnant place.
This reference inspired me to design
the tree swing effect. I designed the trees
swing from left to right in Act 3. The function
was not only to present a change in location,
but also to represent Chou Hu's inner
psychological turmoil. When the trees swing
became bigger and bigger, it presented Chou
Hu's mind became more confusion and afraid.
23. 23
From reference, the poplar tree was a very high and straight tree. It inspired me to
enlarge the tree scale to shows the gigantic and powerful forces of the forest. Also it
highlighted that people were tiny and fearful of getting lost in forest. I did not design the
leaves because I wanted to emphasize a desolate feeling.
Also the story happened in autumn during sunset to sunrise. In the sunset the forest's
color was fading to dark. So I would like to use black and grey tone color to represent this
dark and cold feeling of the forest. This also worked together with the physical limitation
about the renovation in paintshop during the production period.
24. 24
Moreover, I would like to present many layers with deep perspective of forest. Here
is the reference of Chinese landscape photo taken by Michael Kenna:
It shows different shades of monotonous color with many layers from far to close. The color
tone looks like made by Chinese ink. It is blurred and little mysterious in view. This image
inspired me to use different layers of gauze with painted tree shapes and actual trees installed
on stage.
Combined with mist, it created multiplicity of layers and a deeper perspective of
blurred forest in the night.
Also the forest increased the atmosphere of mystery that made the character unaware of
direction, and increases reality in the shadow effect illusion.
HUANGSHAN MOUNTAINS, STUDY 42, ANHUI, CHINA,
2010 BY MICHEAL KENNA
Over lap the trees shape painting by layers and combine
with real tree structure. It makes more gradation of visual.
25. 25
5.1.4 About shadow effect
Shadows effect is an important element in the play since this time I would like to
design a less realistic set. Using shadow effect is good way to make the real and illusion
become blurry. Especially when Chou Hu has hallucinations. Also it can function as an
indicator of location change in the forest when silhouette effect combines with body
movement. For example it can outline the object shape such as train and Buddha, to replace
the real building. This method is cost effective because the building of real set pieces is
unrequired. There are some scenes during which I wanted to use the silhouette effect, such as
a obscure night forest; train shape and police’s hunting Chou Hu; Chou Hu’s hallucination
when they escape in the forest.
I have gotten the inspiration
from a number of installation
artworks in Japan. There were
some artworks about the
relationship between lighting
and shadow. It functioned as a
good reference to show how
using a few objects with
lighting can produce meanings.
The shadows extend the object
size to fill up the space. So I
referred to this effect during
my shadow effect design,
especially as creating big
police shadows. It creates the
illusion that the policemen are
more close to them and look
more horrible. Also intensifies
Chou Hu fear.
26. 26
It is because I would like
to create many trees in forest.
Using shadow effect to
combine lighting makes the
trees looks more abundant
that I did not need to bring as
many physical trees onstage.
Moreover, this artwork
uses shadow and real object to
create a space between real
and non-real. It inspired me to
put this effect into the forest,
which can make characters
feel scared when they get lost.
And it gives the feeling of
running in a maze of trees that
they cannot escape.
Besides, the shadow changes and gives strange shape, or is even deformed by lighting, it
make the richer visual and emotional feeling, which could be used during the police hunting
Chou Hu in the forest.
The lighting makes this furniture become a strange shape and create a scary feeling.
27. 27
5.1.5 About Daxing’s house
Because my forest has the illusion of a jail, the house is also trapped in the forest. So
I designed a wide flat to represent house wall. It spreads across the stage right to stage left.
And there is only one main door linking to the forest. So it represents they are still trapped in
the forest even if they go out from home. They have no other choice.
Besides, I would like to
design the set less realistic. I just use
one flat to present the living room
rather than designing a full house
setting. It is because the story
happens mainly in the living room. I
would like to focus on the viewpoint
in the living room. And I designed
the house without ceiling and the wall
being not very tall. Audience still can
see a part of tree trunk between the
house wall and the border. Also
simply flying flat can make the scene
change faster. And the house does not
disturb the forest pattern.
I wanted to create a fantasy moment when characters talking about their dream
behind the wall. It is blurry and cannot be defined if it is real or not. And I wanted to create a
mysterious feeling, when the characters have a secret talk. Therefore, I used the shadow play
to present these moments. And I find this reference that inspired me to design a wall material
that is see-through. Such as use I use ‘Twinwall’ for Daxing's house wall.
Zhaigang Village (翟岗村) in Hubei Province
This village house still keeps the late Qin architecture style. It
is a good reference for me to know Daxing’s house shape is
what. Although I design the set is less realistic.
28. 28
I wanted to merge the forest and the wall of the house together and did not want the
house wall to disrupt forest’s original pattern. I want to present that the house is a part of the
forest. I designed tree trunk shape behind the wall that support the structure. And there are
different sizes of tree shape that can hide the original wall structure.
Besides, when combined with lighting, the wall becomes a screen. It shows the trees trunk
shapes structure and the forest's trees. Also it makes the house a part of forest. But the other
time is the normal house wall that cannot see-through.
Inside of the house, I imagine Daxing’s house is big but a bit old. It is because his
family gets poor after his father dies and there is no money to decorate it. That’s why Daxing
need to go far away to work and earn money. He needs to support whole family. So I found
countryside house references that let me know more house details and textures and also
inspired me to create desolated feeling for the house.
This old house and texture can be reference me to design Daxing’s house.
Zhaigang Village (翟岗村) in Hubei Province
There are some beams and columns to support the house inside structure.
29. 29
There are only few pieces of furniture in the living room. It is because I did not want
the furniture to block the shadow play on wall. Also according to the Director’s request, there
are only a few furniture pieces required. Such as a square table with a few chairs; a bench and
a cradle. Besides, I cut the small shrine for Buddha and just put the a red mat on the down
stage. Characters will face the audience while worshipping.
I would like to unify the mood through out the whole story. Since the story happens
during sunset to sunrise. In sunset the surrounding color is fades to become dark. And the
elements representing the dark color are the forest, Daxing’s house and train track. Therefore,
I would like to use monotone color such as black and grey. It present the surrounding is faded
after sunset. Also there is the physical limitation about the renovation in paintshop during the
production period. The scenic department only can supports a simple color tone. Therefore, it
is good to use less color. It does not require too much time to mix.
It shows the main living room furniture and the setting.
30. 30
5.1.6 About train and train track
I interpreted the “Countryside” as
a simple, isolated and original life; and
the “City” represented civilization and a
change. The train track is the only
connection of the countryside and the
city. So the train track represents Chinese
people’s “Hope for future” between
original and modern in that period. Many
Chinese people believe they have chance to break out from their poor life through connection
of the rural location to the city. So the complete train track and the abandoned train track in
my design also represent hope and hopelessness.
I went to the Hong Kong Railway Museum to see the period train. The museum was
the old train station, which was built in 1913. It was a good field research for me to design a
more real proportions of train track a texture for the set design.
The train and near it is the forest. It is good for reference to my set design.
31. 31
I wanted to show that the speed of train is very fast and make it so that people cannot
clearly see the train body. The forest is misty and the train track is very far away. We just can
see the shadow of the moving train and the light it emits through the trees. So I used the train
light and smoke to replace the real moving train. Also this method can save money so that we
don’t have to build a physical train.
32. 32
5.1.7 About filmic elements
I would like to create an
impressive opening of the play. And the
Director wanted to use the movie effect to
present this important moment. So I focus
on showing a motion of Chou Hu jumps
from the train in the beginning.
I found out that there is an important and easily identifiable filmic element: Aspect ratio
(image). Here is the simple introduction of Aspect ratio (image):
"The aspect ratio of an image describes the proportional relationship between its width and its height for
presenting media."8
There are different types of aspect ratio to present image. The most common Aspect
ratios nowadays use in movies is 1.85:1. The frame of this scale is long and narrow.
I would like to design using this long and narrow frame into my set design.
Therefore, I dropped the header down to create a silver screen frame. It can represent a film
feel in the story. Also can cover a part of the forest. After I raised the header, I created a
visual change for audience and highlight the forest scale.
8
Wikipedia, the free encyclopedia Aspect ratio (image); https://en.wikipedia.org/wiki/Aspect_ratio_(image): the
Wikimedia Foundation, Inc
It shows a series of actions about character jumps from the train in the movie
33. 33
5.2. Design Development
5.2.1 First discussions with Designer
The production started in July. Because I was an art festival volunteer in Japan
between July and mid August, we had discussions using Skype and e-mail. Jonathan told me
about the production schedule, show budget and physical limitation of Scenic paintshop,
space and venue. There was the renovation in paintshop during the production period. It
means we do not have enough space to place a big set piece. Therefore, it impacted the set
design directly.
The director told us his artistic choices. For instance, he wanted to create a less
realistic style of the set; he suggested using gauze with shadow effect and the filmic feeling;
also he wanted the forest to change or move, to present the different locations in Act 3. When
Chou Hu and Jin Zi escape in the forest; he wanted to create a shocking opening to present
Chou Hu jumped from the train; Also he did not want to create a realistic house, he though it
is suitable that only have few pieces of furniture with a part of construction of house.
After meeting the Director, I started to find the research and set sketching in Japan.
Also I started analyzing the script and playwright.
34. 34
5.2.2 Sketch and Inspiration
I got many inspirations and ideas from many artworks and Japan’s environment. After I
read the script, my first impression was that the forest of the wilderness looks desolated and
lifeless. It made me feel that the world was like a prison in the script. And I thought the story
going from tidy to messy.
Then I found some references. It inspired me to draw the set design sketch. But it could not
create a desolate feeling of the story. It looked like I only put different elements together, and
made a messy picture. So I had to analyze the script in more detail.
Try to design the tree track can split into different smaller
pieces. And used different material to represent the tree.
Such as iron bar or pipes.
Fly in the projection to replace tree tracks. It presented
Chou Hu’s hallucination.
35. 35
After I finished the scene breakdown,
analyzing the script, and initial research of the
playwright. I made the rough location map based
on the script. It helped me to get a general idea of
what locations were needed onstage.
And I drew this sketch for the
whole story. There were some straight
lines to represent the forest. Behind of
the forest, the train track was hanging
in the sky. The train track represented
a dream and "Hope for future" that
Chou Hu wanted to get this dream.
However, I estimated it needed a bigger budget to build the set. So I put aside this design
and began to explore other possibilities.
36. 36
5.2.3 First meeting with Director
After I came back to Hong Kong, I had a first meeting with Director and creative
team. I found some reference to present the mood and elements for different scenes.
The director reminded me to use innovative approach, to design the less realistic set in
this time. I also realized I needed to work with the Lighting Designer very closely. It is
because some effects I wanted to achieve relied on lighting. Such as use of a shadow effect
(P.25-26). And lighting to represent the speed of train moving (P.31). After this meeting, I
kept working on the concept development.
37. 37
5.2.4 First development of Concept
I thought Chou Hu acted like had some power. Therefore, he destroyed the forest
original pattern in the story. So I found the reference to present this feeling:
I imagined the tree trunk could be made of different smaller pieces but this was too
messy. The poplar tree in the script was tidy and straight. The tidiness of the trees made the
forest looked like a prison. After that, Jonathan showed me some research to inspire me to
design the forest pattern.
Finally, I thought Chou Hu
act like a tornado. He destroyed
everything in the story. So his
action made the forest became
messy in the end. Then I found
this reference to inspire me to
design. (Concept & Idea details
from in P.18 to P.32)
38. 38
5.2.5 Sketch Model
I found that the first set sketch for whole
story already fit for my concept. So I based my design
on this sketch, and modified it. Then I build up a
sketch model. I decided to use gauze and tree swing,
to represent location change in forest. The long train
track was behind the forest far away. Also I added a broken train track in the forest, to make a
contrast with the long train track. In Act 1 & Act 2, I would fly in the house flat to present
Daxing’s house. And it would block a part of the forest. I also tried to test the filmic elements
and shadow effect show in the model.
Prologue: Using sliver screen frame to present Chou
Hu jump from the train and appear in the forest.
Prologue: Raised the border to created a visual
change for audience and highlighted the forest
scale.
Act1 & Act2: Daxing’s house under normal lighting. Act1 & Act2: Using shadows effect to present
the fantasy moment. And the secret talks behind
Daxing house’s wall.
Act3: Chou Hu and Jin Zi escaped to forest and
tree swing to present location change (In the
beginning of Act3)
Act3: Chou Hu and Jin Zi escaped to forest and
tree swing bigger and bigger, to present Chou
Hu’s mind (When they got lost in forest)
39. 39
5.2.6 Second meeting with Director
I had a meeting with the Director and the creative team after I finished the sketch
model. I presented the set scene by scene with lighting. In the prologue, the Director liked the
silver screen frame effect. And we used the lighting with smoke to represent the moving train.
In Act 1 and Act 2, the Director liked the house's wall to be see-through, and used shadow
effect to present some special moments. In Act 3, the Director thought it was good to use the
tree swing to represent location changed, even Chou Hu's mind changed. And he suggested
designing one or two rocks for the Act 1. It could make Act 1 and Act 3 contrasting. Also the
character can sit on it or do some movement. I agreed with his suggestion. I thought it could
create richer visual effects.
Then I discussed with the Props team about tree trunks, we designed to use pipes to
be the tree trunks. It is because compared with bamboo. Pipes were more firm and durable.
Then, we decided the trees were maximum 7m, because if the trees were too tall, the trees
would hit the border, and blocked the lighting equipment. Also, the budget only could afford
maximum 15 trees. It is because it can create different layers in the forest. So I divided them
into three different sizes by circumference: 220mm, 150 mm, and 100 mm in diameter.
I also had to consider the transportation of the tree trunks into the workshop since the
loading bay was blocked. We needed to cut the pipes shorter for transportation into the
workshop. Then, the pipes would be pasted back together.
40. 40
5.2.7 Development of design
I designed the forest with a tidy layout. The
characters can walk between the trees and hide behind
them. There were four layers of trees upstage. And I
reserved the downstage for Daxing’s house flat.
I wanted to focus on presenting the tidy layout in
the forest to look more like a prison so I simplified the
shape of poplar tree. And I just kept the straight and tall
element for my design. I would like to remind audience
it was a tree, so I added branches to some trees.
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LEGS 2
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LEGS 5
LX 1
LX 4
LEGS 4
STANDARD OPENING
5.5M(H) X 9M(W)
FLYING BAR
LENGTHS(MAIN) : 10.6M,
EXTENDABLE TO 12.6M
LEGS 1
TREE 1
TREE 2
TREE 3
TREE 4
TREE 5
WHITE GAUZE 2
WHITE GAUZE 1
HOUSE COLUMN
HOUSE WALL
TORMENTOR
SIDEMASKINGTRACKS
FLYFLOOR+7750CLEARUNDER
+2700
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UPDATE
SCALE
13.09.2015
Wilderness-2.8.dwg
DESIGNER
DIRECTOR
VENUE
SUPERVISOR
PRODUCTION
CONTACT
THE WILDERNESS
APA DRAMA THEATRE
LEE WING SUM
DD CHAN / JONATHAN WONG
JONATHAN WONG
1:75 @ A3
+852 9190 6340
TO DRESSING ROOM
DOWN ONE FLOOR
&LOADINGBAY
SLIDINGDOORS
+2700
under
clear
Perch
TORMENTOR
-600
FM BAR 2
FM BAR 1
HEMP BAR
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H MSR H H MSL H
Fly Floor +7750
clear underFire Hose Reel
FireHoseReelandStorage
REAR HEAD ROOM CLEARANCE: 5800
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LX 4
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5.5M(H) X 9M(W)
FLYING BAR
LENGTHS(MAIN) : 10.6M,
EXTENDABLE TO 12.6M
LEGS 1
TREE 1
TREE 2
TREE 3
TREE 4
TREE 5
WHITE GAUZE 2
WHITE GAUZE 1
HOUSE COLUMN
HOUSE WALL
TORMENTOR
SIDEMASKINGTRACKS
FLYFLOOR+7750CLEARUNDER
+2700
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clear
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D1 D2 D3 D4 D5
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SCALE
13.09.2015
Wilderness-2.8.dwg
DESIGNER
DIRECTOR
VENUE
SUPERVISOR
PRODUCTION
CONTACT
THE WILDERNESS
APA DRAMA THEATRE
LEE WING SUM
DD CHAN / JONATHAN WONG
JONATHAN WONG
1:75 @ A3
+852 9190 6340
Trees trunks model (with color)
(Simplify the shape)
Poplar trees
41. 41
The house flat would fly in to become Daxing's
house wall. Sometimes the wall would be see-through,
combined with body movement, to present the fantasy or
secret talk. So I tested with few materials such as gauze,
canvas and ‘Twinwall’. Then I discuss with the Scenic
team, we also agreed that “Twinwall” could create the
see thought effect. Moreover, the material was firm,
which would create a more real effect for the wall. So we
decided to use ‘Twinwall’.
Since the wall needed to be supported from behind, I designed some patterns shaped like
a tree trunks to hide the structure. It also merged with the forest. When the story had fantasy
or secret talk moments, the wall looked like an outdoor wall. So I added some texture on the
back of the wall.
I also wanted to add some Chinese elements into the house. I chose this Chinese pattern
for the window because it was tidy. The tidy pattern looked like a iron net in the prison.
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DOWN ONE FLOOR
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WINCH 2
LEGS 2
LEGS 3
LEGS 5
LX 1
LX 4
LEGS 4
STANDARD OPENING
5.5M(H) X 9M(W)
FLYING BAR
LENGTHS(MAIN) : 10.6M,
EXTENDABLE TO 12.6M
LEGS 1
TREE 1
TREE 2
TREE 3
TREE 4
TREE 5
WHITE GAUZE 2
WHITE GAUZE 1
HOUSE COLUMN
HOUSE WALL
TORMENTOR
SIDEMASKINGTRACKS
FLYFLOOR+7750CLEARUNDER
+2700
under
clear
Perch
C2
B1
A1
C1
E1 E2
C3
E3
C4 C5
D1 D2 D3 D4 D5
UPDATE
SCALE
13.09.2015
Wilderness-2.8.dwg
DESIGNER
DIRECTOR
VENUE
SUPERVISOR
PRODUCTION
CONTACT
THE WILDERNESS
APA DRAMA THEATRE
LEE WING SUM
DD CHAN / JONATHAN WONG
JONATHAN WONG
1:75 @ A3
+852 9190 6340
42. 42
I wanted to create a decadent feeling for the house, to represent
Daxing's family going poor and having no money to restore it. I chose this
door reference because it was old and raw, to create a desolated feeling.
Besides the Director suggested keeping only the door frame for easy
access. However, having a house without a door would be stranges. So I
designed one door closed and kept one door opened. And I wanted to
place the house door near stage right since other location would disturb
the shadow effect.
The door reference from
Chinese village
Back side of house wall
Wall texture reference
'Twinwall' smaple
Front side of house wall
43. 43
Since I wanted to create layers and perspective
in Daxing's house. I designed to fly in a Chinese
style beam with column to become a part of house
structure. Besides, the texture was the same as the
door to create an unkempt feeling.
I designed a Chinese stone plinth under the
column, to support the column and structure of the
house. Also I wanted to present Daxing's family
greed for money. So I designed the Chinese coin
pattern to decorate it. I simplified the pattern
because it was too far for audience to see the
pattern clearly.
Chinese style beam with column reference
Chinese stone plinth
Chinese coin pattern
44. 44
I wanted to show the train track was very far away
and that this was the only train track connecting the
countryside and the city. It represented "Hope for future".
So I designed a long train track in the Rear stage.
It is because I wanted to design a broken train
track to represent no hope and represent a contrast
between the broken train track and the complete train
track. It gave a contrast between hope and no hope.
And the broken train track had a perspective. It can
help to exaggerate the distance on stage, to present
that the complete train track is further away.
I decided to put only the track in the set. It is because I wanted to keep the set tidy. And
the rocks under the train track, would make the floor messy and disturbed character
movement, therefore I decided to ignore the rocks.
Besides, I wanted to design the train track to look more realistic. I measured the
dimension of a real train track, which in the Hong Kong Railway Museum. Also I got some
train’s structure details and texture from the museum to help me design.
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Fly Floor +7750
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FireHoseReelandStorage
REAR HEAD ROOM CLEARANCE: 5800
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BORDER 3
BORDER 4
HEADER
BLACK GAUZE
WINCH 1
WINCH 2
LEGS 2
LEGS 3
LEGS 5
LX 1
LX 4
LEGS 4
STANDARD OPENING
5.5M(H) X 9M(W)
FLYING BAR
LENGTHS(MAIN) : 10.6M,
EXTENDABLE TO 12.6M
LEGS 1
TREE 1
TREE 2
TREE 3
TREE 4
TREE 5
WHITE GAUZE 2
WHITE GAUZE 1
HOUSE COLUMN
HOUSE WALL
TORMENTOR
SIDEMASKINGTRACKS
FLYFLOOR+7750CLEARUNDER
+2700
under
clear
Perch
C2
B1
A1
C1
E1 E2
C3
E3
C4 C5
D1 D2 D3 D4 D5
UPDATE
SCALE
13.09.2015
Wilderness-2.8.dwg
DESIGNER
DIRECTOR
VENUE
SUPERVISOR
PRODUCTION
CONTACT
THE WILDERNESS
APA DRAMA THEATRE
LEE WING SUM
DD CHAN / JONATHAN WONG
JONATHAN WONG
1:75 @ A3
+852 9190 6340
Details of train track
Wood texture
45. 45
I decided to use two white gauzes with
painting tree trunks in order to create more
layers and deeper perspective. Also
combined with shadow effect and mist, this
would create an illusion in the forest. I would
like to add the Chinese element into the set.
Therefore I used Chinese brush effect to
paint the tree gauze. The brush can create an
organic line, and different shades of the brush
strokes to create different layer of trees.
After the second meeting with the
Director, we agreed to put some rocks in the
set. So the character can sit on it or do some
movement. After I found the research about
rocks, I design three different size rocks and
when the rocks changed the position, it can
represent the location change. The rocks were
in the same colors as the forest. It presented
the rocks as part of the forest.
I painted some gloss in some part of the
set to combine with lighting to present the
water effect. It represented the lake and
puddle in the forest.
46. 46
White card model
Prologue-Forest
In the beginning, the header would be dropped down to 3.5m. It created a sliver screen proportion.
Combined with lighting to represent the train moving. Then Chou Hu appeared between two gauzes,
to present jumped from train.
Prologue-Forest
After Chou Hu appear, the header raise to 5m. Then he went to down stage, which is in front of the
gauze. Then the shepherd appeared.
47. 47
Prologue-Forest
Then, the gauze was fly out. And Daxing and Jin Zi appear. At the same time, Chou Hu and the shepherd hide
in forest.
Act 1 & Act 2- Daxing’s house
It shows Daxing’s house under normal lighting. (The furniture to be confirmed)
48. 48
Act 3- Forest
The gauze fly in to present Chou Hu and Jin Zi escaped in the forest. Then the poplar trees started to swing.
Combined with shadow play to represent location change.
Act 1 & Act 2- Daxing’s house
Using shadows effect to present the fantasy moment and the secret talks of Daxing house’s wall.
49. 49
Act 3- Forest
Then the poplar trees swing to the other side and become bigger and bigger. And Chou Hu starts his hallucination.
Act 3- Forest & Wilderness
In the end of story, after Chou Hu died. All of the gauze fly out and the poplar trees swing back to the original
position. Train appears at the rear stage to represent Zin Ji escaped successfully.
50. 50
5.2.8 Modification of Design
After the overall presentation and costing, we know the budget was not enough to build
the whole set. We needed to cut and change a part of the set. For example, we cut the white
paint gauze, and replace the white gauze. It is because it did not really affect the forest
perspective much. The budget only could afford maximum 11 trees now, so I rearranged the
forest pattern; after discussing with the production team, we decided to cut the broken train
track into two parts because we needed to reserve a gap for white gauze.
Moreover, the Director gave some comments on the rocks. He thought they were too many of
them in set. He needed characters to sit on the rock and do some movement. So I decided to
keep only the biggest rock. In Daxing’s house, the Director thought the stage right area was
not enough space for acting. So I decided to move the house door to closer to the center.
About Daxing’s house wall, I found some color and
texture reference for the house wall. I decided to use monotone
for the house wall. Because I wanted to present the Daxing's
house was faded after sunset. And the texture was old and raw,
to create a desolate feeling. Also it represented Daxing's
family's poverty and lack of money to maintain the house.
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Fire Hose Reel
FireHoseReelandStorage
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WINCH 1
WINCH 2
STANDARD OPENING
5.5M(H) X 9M(W)
FLYING BAR
LENGTHS(MAIN) : 10.6M,
EXTENDABLE TO 12.6M
TORMENTOR
FLYFLOOR+7750CLEARUNDER
+2700
under
clear
Perch
A1
D2
B1 B2 B3 B4
C1
D1
C2 C3 C4
BLACK GAUZE
BACKDROP
WHITE GAUZE
LEG 4
BORDER 4
LEG 3
BORDER 3
LEG 2
BORDER 2
LEG 1
BORDER 1
TREE C
TREE D
TREE B
TREE A (FIXED)
HOUSE FLAT W/ MASKING
HOUSE FLAT W/ MASKING
COLUMN
WHITE GAUZE WITH PAINTING
BENCHES
CRADLE
+800
+600
+400
+200
UPDATE
SCALE
30.09.2015
Wilderness-gptd-3.7.dwg
DESIGNER
DIRECTOR
VENUE
SUPERVISOR
PRODUCTION
CONTACT
THE WILDERNESS
APA DRAMA THEATRE
LEE WING SUM
DD CHAN / JONATHAN WONG
JONATHAN WONG
1:75 @ A3
+852 9190 6340
51. 51
I decided to put a few furniture pieces in Daxing's house, which included: A square table
with two chairs, a bench and a cradle. Therefore, I found some Chinese style furniture and
designed them. The furniture's color I decided were the same as poplar trees. And some of the
props I found in school storeroom, SM team would buy some of them. Some of the props
would be made by the Props team and Design team (me and assistant). For example, for the
cradle, the Props department made the structure. It is because buying from the Internet was
too expensive. I found the structure size research in Internet for the Props department making
it. Besides, the cradle and decoration would be bought online by SM department.
And the Props department made the square table too. It would be cheaper to make a new table,
rather than buying online. The table size and design was based on Internet reference. But the
Director thought the table was too high. In the making process, we cut the table leg to become
shorter. Besides, the Director wanted Daxing in Act 2, to stab the table with a knife in his
anger. After I discussed with the Props team, we decided to use foam board replace a part of
the table face. The foam board would be painted same as the table color and it was easy to
change a new one if the older one was broken.
(Reference)
(Reference)
Testing for using knife
inserted on the foam board.
52. 52
It is because the Director wanted the actor to look taller when they sit on chair. I found the
original chair in storeroom was not tall enough. After I discussed with the Props team, we
thought make a new chair was easier and safer rather than to modify the chair's leg size. Also
I increased the length of the seat, to adjust the chair’s proportion to make it look normal. It is
because it was very strange in proportion if we only made the chair's legs longer. Finally, the
two chairs made by the Props department and based on the original chair in storeroom as
reference.
(Reference from storeroom)
53. 53
5.3 Final Design
5.3.1 Details of Final Design
Final model with color
Prologue-Forest
In the beginning, the header would be dropped down to 3.5m. It created a sliver screen viewpoint. Combine
with lighting to represent the train moving. Then Chou Hu appeared between two gauzes (1 painted white
gauze & 1 white gauze), to present jumped from train.
Prologue-Forest
After Chou Hu appears, the header raise to 5m. Then he went to down stage which in front of the gauze.
And the shepherd appears.
54. 54
Prologue-Forest
Then, the gauze was fly out. And Daxing and Jin Zi appear. At the same time, Chou Hu and the shepherd hide
in forest. Then, Daxing’s mother first appears.
Prologue-Forest
After Daxing and his mother leave. Jin Zi and Chou Hu meet again in the forest.
55. 55
Act 1 & Act 2- Daxing’s house
It showed Daxing’s house under normal lighting. (With furniture)
Act 1 & Act 2- Daxing’s house
Using lighting and shadow effect to show the house wall started change to see-through (Before Chou
Hu’s memory started)
56. 56
Act 1 & Act 2- Daxing’s house
Using shadows effect to present the fantasy moment. And the secret talks behind Daxing house’s wall.
Act 3- Forest
The gauze fly in again, to present Chou Hu and Jin Zi escaped in the forest. Then the poplar trees started to
swing to stage right, to represent location change.
57. 57
Act 3- Forest
The poplar trees swing to stage left, to represent location change.
Act 3- Forest
Then the poplar trees swing to the other side and becomes bigger and bigger. Combined with shadow
play, to represented Chou Hu starts his hallucination.
58. 58
Act 3- Forest & Wilderness
In the end of story, after Chou Hu died. All of the gauze fly out and the poplar trees swing back to the original
position. Train appeared at the rear stage to represent Zin Ji escaped successfully.
59. 59
5.4 Design Realization
5.4.1 Scenic and lighting test on wall and tree trunk
After discussion with the Scenic department, we decided to use raffia for texture on the
back of the wall. It is because raffia can make the wall appears outdoors, during the fantasy or
secret talk moments in the story, So I added these texture on the back of the wall. Therefore,
the scenic artist made a color and texture sample for Daxing's house. We tested with the
Lighting Designer. For example, shadow effect, texture and the color changing under different
lighting angle. In the making process, the Scenic team covered too much raffia on the wall
and tt made the shadow effect too messy and looked scary. Then we decided to take some
raffia out and tested again.
Buy the raffia in the Internet
1st
House wall sample & Lighting test:
Front light to test the wall color
and texture
Back light to test the
shadow effect
3rd
House wall & Lighting test:
Then we put some raffia out and follow back the wall sample’ raffia pattern again.
There was too much raffia on the wall. It made the shadow too messy and not clear.
2nd
House wall & Lighting test:
60. 60
Besides, we also test the Daxing’s house wood texture and
color with lighting. It is because the stage was far away from
the audience, we decided to magnify the wood texture. I chose
color and texture in A because the texture of B was unreal. It
looked like an unevenly painted wall. The A texture matched
with my model, to present the raw and desolate feeling for
Daxing house. So we decided the house structure texture and
color were to follow sample A.
Daxing’s house wood color and
texture testing (with lighting)
A
B
Normal lighting in Daxing’s house.
The fantasy moment in the show.
61. 61
5.4.2 Tree texture and swing mechanism
At the same time, we kept discussing with Technical Director about the tree swing. The
technical limitation and manpower limited the tree swing angle, which only can swing a
maximum of 20 degrees. Besides, the Director wanted to have the blasting effect on some
trees to imitate the gun shooting effect. We then did the blasting testing with the Director and
discussed with him. We decided to have two small blasting effects in two trees. It is because it
could represent there were many police hunting Chou Hu and shooting him.
The Props department made the tree trunk shape. We decided to use pipes to make the
tree trunk. After the Props maker tested the material such as mud carving and texture fabric,
to create the tree texture, we decided to use texture fabric. It was easy to cover the bottom of
tree and the trunk. It is because fabric was soft. Also the fabric texture looked more natural
than the mud carving texture. Then, the Scenic department would paint the color on it. It is
because there was trees blast. The Scenic team would prepare the fire protection on the trees.
Also we reserved some fabric to cover the tree bottoms after move-in.
Painting tree trunk
Using texture fabric to
cover the pipes and
create tree texture.
Cut the circle shape around
the tree trunk to cover the
swing machine.
Tree blast points and the tree swing effect during the show.
62. 62
5.4.3 The shadow effect
During the rehearsal, we had a movement coach, Gigi to create the shadow effect and
movement. And we test the movement with the gauze. In the show, the shadow effect
combined with lighting was better than I had imagined. It was good to make the real and
illusion become blurry when Chou Hu and Jin Zi were lost in the forest. Also the shadow can
enlarge Chou Hu’s feeling very scared when the big police shadow appeared.
.
This shadow effect present police hunting Chou Hu,
and they come closer.
Then the actors changed their movement to represent the
temple in the forest.
Finally, the actors changed become a train. Combined
with lighting, the shadow became bigger. And Chou
Hu ran to the train track suicide by train hit.
63. 63
5.4.4 Modification of gauze design
After the final presentation, the Lighting Designer said
that the white paint gauze was too bright to create the
shadow effect. So we discussed with the Scenic Artist for
solving this problem. After our discussion, we decided to
paint the grey color for the background color. I decided to
put the darker grey color on the upper side and the lower
side, and fading to lighter grey color in the center part of
gauze. The two sides were darker because it can match the
surrounding color when combine with lighting.
After painted the grey on gauze,
we tested with lighting and
fine-tuning the color.
64. 64
5.4.5 Modification of train track
The Director strongly requested the broken train track
could become higher after the rehearsal. So the
characters can sit and still walk on it. I suggested
enlarging the whole train track a bit to make the
characters able to squat on it. But it is too high to
walk on it. And the Director wanted the characters to
be able to comfortably sit on the train track. Therefore,
I did the research and re-design the broken train track.
I made it look like it was sinking into the ground
because of the earthquake. The train track was
distorted. And the first wooden structure of broken
train track height looked like a chair, so characters can
sit on it more comfortable.
The reference showed the earthquake lead
to train track sink into the ground.
The new version broken train track in the set.
(Close up of new version broken
train track)
(Move-in) Finish broken train track building.
65. 65
5.4.6 Modification of rock
During the rehearsal Jin Zi was sitting on the
rock. The rock that I designed before did not have
enough space for actor to have any movement.
Therefore, I decided to cut some parts of the rock to
create a sitting space for Jin Zi. At the same time, I
also kept the shape natural. Besides, I discussed with
the Scenic Artist to exaggerate the rock's shadow and
highlight the shape to make it easier to see from the
distance.
(Move-in) Finish the rock making.
66. 66
6. ADJUSTMENT AFTER MOVE-IN
After move-in, the Director thought the first wooden structure of broken train track was
high enough to sit. But the wood was too big that blocked the rest of the track. It made the
audience unable to see that it was a train track. After discussion, we decided to cut half of the
wood to make it smaller.
(Move-in) After cut a half of first wooden structure.(Move-in) The original size of first wooden structure.
67. 67
After the Directer saw the full set of Daxing's house with furniture. He thought the cradle was
too big compared with the house, and it would block actors. I realized that I had not compared
with other funiture when I designed the cradle. So we discussed with the Props team to
narrow the size of the cradle, to make a new structure.
During the technical rehearsal, we found that Jin Zi still did
not have enough space sit on the rock. Therefore after discussed
with the Props team, we decided to let actor sit on the rock and
cut the space. So to make sure the sitting space enough for the
actor.
Actor demonstrates the pose
when she sits on the rock.
The original rock. New sitting space on the rock.
The original cradle. The new cradle.
68. 68
There was a problem with the train shadow
effect in Act 3. The train shadow effect used a
cardboard to create the train shape, combine
with movement to represent the train moving.
Julie Lynch, Head of Design Department,
thought the train shape was too simple and
rough. It looked like a primary school’s
production. So I did the research from history
and re-made a new train shape with more
details. And I made a perspective to present this
effect.
The original train shadow shape.
Then I found the reference and re-made a new train shape cardboard.
New train shape show in the run-through.
81. 81
8. CONCLUSIONS AND REFECTION
During this production, I learn many things. First, there was required indoor space and
outdoor space in the script. Such as indoor space include Daxing's house; outdoor space
include forest, lake and train track. These spaces needed presenting on the stage. So I came up
with the best way to hold these two spaces together. Also they would not clash together and
support the action. For example, the furniture in inside (Daxing's house) would not block the
shadow on the wall, and the actors can act behind the wall at the same time by using
'Twinwall' during the show.
Besides, I decided to use the most important element (key element) for each space. Such
as the poplar tree trunks for the forest (outside space); the wall structure with some furniture
in Daxing’s house (indoor space). I used more of these elements and tried to develop them, to
make them to be symbols rather then just objects. I tried to use these simple elements, which
could produce a strong meaning in the set. And as a designer, I sometimes can install small
parts of the set rather then to build a whole solid construction. Such as decided to fly in a flat
to represent Daxing's house. I have learned to think through how to position different small
pieces of the set, and how to mask them to fit for the design concept. Such as using a gauze
with shadow play and combine with lighting, to present a different angle of forest and
moment during the show. Also I have tried to express the dark nature or underworld, which
come from my research of the forest. For instance, I used the dim colors and sharp geometric
shapes.
Moreover, I have learned how to work in construction- unfriendly environments such as
the renovations of paintshop during the production. It made me learn how to organize the set
in the most efficient way such as decided to cut the pipes shorter for transportation; painted
the tree trunks, train tracks, house structure, furniture in same monotone color, to fit the
paintshop only support limited level. Also it can match with the mood of the set design that
the surrounding was faded in sunset.
I have also learned how to handle the relationship between designer and the Director.
The play is an old school traditional Chinese story. In this production we build a less realistic
frame in the set. I developed my design concept and sometimes to fulfill the Director
requirements. Such as the filmic element to present the moving train in the beginning of
Prologue was a successful visual view. And I have learned not only to follow director’s
82. 82
request, but also to put the designer's aesthetic sense to merge with the designs. The example
is I decided the sit area for actor on the rock also kept the rock natural shape.
I think this production was a very useful experience. I learned to listen more carefully to
the opinions of others. And I could understand different department's work duty, to
open-mindedly work and communicate with them.
After review the final outcome, I think this production was successful although some
part of set design was not as I expected. For example, the projection effect looked rough and
odd in the show. I think we can try to input different performances elements into the show,
and the projection style can match with my set design more. However, the overall set showed
the mood and theme as what I imagined. Also it was useful that I decided to change a small
part of set. For example, the tidy forest pattern created a peaceful feeling. When the tree
swings with shadow play, the forest pattern become messy to create tension. Also it created
different mood and location for expressing the story and atmosphere. Finally I have learned
how to transfer my original concept to a physical setting in the real production.
83. 83
9. BIBLIOGRAPHY
Britannica, T. E. (2016). Cao Yu Chinese author. Retrieved from Encyclopædia Britannica,
Inc. : http://global.britannica.com/biography/Cao-Yu
GUIDELINES, T. A. (2007). Retrieved from Australian Production Design Guild Guidelines:
http://www.apdg.org.au/wp-content/uploads/2015/02/APDG_PP_GUIDELINES_FINAL.pdf
vivina. (2010). 曹禺. Retrieved from 中文百科在线:
http://www.zwbk.org/MyLemmaShow.aspx?zh=zh-tw&lid=92991
Wikipedia. (n.d.). the free encyclopedia Cao Yu. Retrieved from Wikimedia Foundation, Inc:
https://en.wikipedia.org/wiki/Cao_Yu
Yu, An Introduction to Cao. (2011). Retrieved from The White Rose East Asia Centre
(WREAC):
http://www.wreac.org/chinese/events/past/cao-yu-centenary-in-britain/an-introduction-to-cao-
yu
胡亮宇. (2010). 試論莎士比亞對曹禺早期戲劇創作的影響. Retrieved from Journal of
Hainan normal university (Social Sciences):
http://mr.gxiang.net/upfile/ebook/89/63452136829942905493.pdf
茅盾. (1941). 白楊禮讚. Retrieved from http://www.skhsbs.edu.hk/chi/ref/Artical/80.html
黛珂. (2010). 白楊樹. Retrieved from 中文百科在线:
http://www.zwbk.org/MyLemmaShow.aspx?zh=zh-tw&lid=89752
100. 100
Furniture List
No. Furniture name Qty. Description Reference Support
01 Cradle 搖籃
Cloth Hangings
1
Many
For baby(小黑子) Construction:
Making
Cradle:
http://world.taobao.com/item/20573612
276.htm?fromSite=main&spm=a312a.7
700824.w4002-11790895669.40.CJWS
YU
+ Color touch up (same as other
furniture)
Cover cradle fabric:
Buy
Buy in taobao:：
https://world.taobao.com/item/39855872
630.htm?spm=a312a.7700714.0.0.NvjB
qL#detail
https://world.taobao.com/item/19667469
701.htm?spm=a312a.7728556.14146511
74895.3.78lNWt&scm=1007.10146.607
0.0&id=19667469701&pvid=9450c56c-
f584-490e-84a0-910ff28a2de3
http://world.taobao.com/item/67412180
22.htm?fromSite=main&spm=a312a.77
00824.w4002-5040424610.37.EMouGq
http://world.taobao.com/item/67412902
56.htm?fromSite=main&spm=a312a.77
28556.0.0.REX14o
＊Each items may buy 7-10 piece and
stich it together
101. 101
02 Square table
方桌
1 For house interior Making
* Make an area for can using knife
inserted on table (大星)
03 Chair 椅子 2 For house interior Making or borrow from stock and
change it high
04 Bench 長凳 1 For house interior Making
102. 102
Props list
No. Props name Qty. Description Reference Support
01 Small rock 石塊 Few For 金子 pick a stone
from the train track
and throw to 大星
Color touch up (Same as set)
02 Red mat 紅拜墊 1 For house interior Buy in taobao:
https://world.taobao.com/item/1654881
0642.htm?spm=a1z3o.7406521.0.0.Qx4
ct0
(45x45)cm
+ Color touch up (same as other
furniture)
03
Tray 托盤
Teapot 茶壺
cup 茶杯
1
1
4
On square table Buy in taobao:
Tray 托盤：
http://world.taobao.com/item/42069044
897.htm?fromSite=main&spm=a312a.7
700824.w4002-6654820047.103.655jB
F
Teapot 茶壺:
http://world.taobao.com/item/44518452
495.htm?fromSite=main&spm=a312a.7
700824.w4002-10826535107.100.YO5
mEM
+Color touch up
cup 茶杯：
From stock (two have fish pattern and
two is pure white, same shape match
with fish pattern cup)
103. 103
04 Flagon 酒壺 A 1 For drinking
（常五）
Buy in taobao:
https://world.taobao.com/item/3995361
2757.htm?spm=a312a.7700714.0.0.bcP
JqV#detail
款式：白
+Color touch up
http://world.taobao.com/item/15370133
393.htm?spm=a312a.7700714.0.0.iFY4
Zz - detail
05 Wine bowl 酒杯 1 For drinking
（常五）
Buy in taobao:
https://world.taobao.com/item/4278592
9808.htm?spm=a312a.7728556.141465
1174895.11.1xMVOH&scm=1007.101
46.6070.0&id=42785929808&pvid=20
66578c-3ee5-483c-964e-1666e35f5f29
款式：高腳杯（純白）
+Color touch up
06 Flagon 酒壺 B 1 For drinking
(大星+仇虎)
（2 公斤：7Rx16L）
Buy in taobao:
http://world.taobao.com/item/52101481
3192.htm?fromSite=main&spm=a312a.
7700824.w4002-11631286021.22.MTv
CsY
+Color touch up
07 Wine bowl 酒碗 2 For drinking
(常五/大星+仇虎)
Buy in taobao:
http://world.taobao.com/item/40538727
449.htm?fromSite=main&spm=a312a.7
728556.w4004-10826745905.4.7oZHV
b
款式：魚花
+Color touch up
104. 104
08 Women shape
woodcarving 女
性木雕
Red fabric (For
cover)
Amulet (top)
1 In cloth wrapper (焦
大媽)
Making
*Details please see remarks
09 Whip 皮鞭 1 Hang on the back
door
Buy in taobao:
https://world.taobao.com/item/1508197
6873.htm?spm=a312a.7700714.0.0.Kh
QaMS#detail
+Color touch up
https://world.taobao.com/item/3945591
6917.htm?spm=a312a.7700714.0.0.Fyg
5k8 - detail
10 Red lantern 紅
燈籠
8 For actors (常五/白傻
子)
Buy in taobao:
http://world.taobao.com/item/36027432
69.htm?spm=a312a.7700714.0.0.RqujJ
G#detail
+Color touch up
* Waiting Gigi conform
11 Candlestick /
lamp
燭台／油燈
1 For actress (金子) Buy in taobao:
https://world.taobao.com/item/4277838
8423.htm?spm=a312a.7700714.0.0.K1p
DBU#detail
+Color touch up
105. 105
Remarks:
12 Already packing
food(西樵大餅)
1-2 For character(大星) 西樵大餅:
Making
Packing paper & string:
Buy
