Theatre Collaboration Project Group 74 Oedipus the King by Sophocles

1. THEATRE GROUP
PROJECT 74
Oedipus the King

2. SET DESIGNER By: Chris Tobar

3. THE STAGE
A thrust stage with an 8’’x6’’ rounded top double door
that leads to the “palace” ie the backstage with curtains
on both side and a 15 step stair leading down into the
main open stage.
At the foot of the steps, there are two altars where
character gather during certain scenes.
Actors will either enter from the “palace door” or from
the audience aisles.

4. THE PHYSICAL LAYOUT
BACKSTAGE
Curtain Curtain
Palace
Door
Altar Altar
Stairs
Stage

5. THE STAGE
The production should be held in large stages.
It will be able to hold the chorus of 3-7 people, and
allow the lead actors a lot of room to act and move in a
non restricting environment.

6. SCENIC DESIGN
Following the original script’s
location and time period, the stage
will have various past Greek décor,
and follow a realistic design.
All structural elements such as
stairs, pillars, doors should appear
to be marble or stone.

7. MOOD
The play should be done outdoors or use elements that
would give the same impression, such as trees, and
lighting elements
Sets a mood where we feel like we’re watching a
primitive ancient world we feel far and advanced from to
shock the viewer when seeing how relatable the play
truly is.

8. MOOD
Everything on stage will be bland (no bright colors) to
show the antiquity, and realism of the Ancient Greek
setting.
Also will be set heavily at night time, to set a darker
mood to the play.

9. CENTRAL IMAGE /
METAPHOR
The stairs and altars on the side are the central image of
the set.
A lot of the action occurs as actors enter and exit the
palace, so the stairs are a hub of activity.
The stairs also signify Oedipus’s fall, at start of play he’ll
stand confident at the top.

10. CENTRAL IMAGE /
METAPHOR
As he learns the truth of his actions he goes farther away
from the palace, and falls to the end of the steps nearing
the audience.

11. SPECIAL EFFECTS
The stage will be decorated with at least 6 torches at a
time, which can be actual torches if safety regulations
permit or false bulb torches.
Shades from “window” of palace with light in back to
provide shadow. Used for the hanging and blinding
scenes which would be too graphic for the main stage.

12. LIGHTING By Michael Soo

13. VISIBILITY
Make whoever is talking visible to the audience. (Oedipus,
Priest, etc.)
Make sure the lighting is sufficient enough to see actions being
performed on stage.

14. REVEAL SHAPES AND
FORMS
Use of shadows in order to create suspense or dramatic effect.
 Oedipus stabs out his eyes. Use shadows to show the action
rather than an actual actor.
Use dark lighting and shadows to create an ominous and
mysterious mood.
Use bright lights to make everything clear on stage.

15. CREATING FOCUS
ONSTAGE AND VISUAL
COMPOSITIONS
Using spotlights to show the audience what is important.
Use different color lights as a form of symbolism.
 Red: anger, death, tragedy
 Blue: Peace, comedy, relief
Blue light Red light

16. MOOD AND STYLE
Use of red light to signify anger, death, or tragedy.
 Oedipus threatens Tiresias when he does not give the
information he wants to hear.
 The scene when Oedipus stabs his eyes after seeing Jacosta
hang herself.
Use of darker lighting during darker or ominous moods.
 Opening scene with the curse on Thebes.
Use spotlights during a monologue or speech of a single
character.
Red light Darker lighting
Spotlight

17. TIME AND PLACE
Use brighter lighting during the day and darker lighting at
night.
In houses or buildings use red flickering light to symbolize
flames.
Use flood lights to get the feel of night time vs morning or
mid-day.
Flood lights Fake fire light

18. RHYTHM AND VISUAL
MOVEMENT
Follow the character with the spotlight as they move.
Don’t have any abrupt changes in the lighting that is
distracting.
Provide a sense of clarity by showing who or what is important
in each scene.
Use lighting appropriate for each scene. Make sure the lighting
matches the mood.

19. COSTUME DESIGN By: Elise Steward

20. PERIOD
Oedipus the King is set in Ancient Greek times.
Clothing in this time period consisted of togas and
tunics.

21. CLOTHING FOR MEN
Clothing for men consisted of a tunic (chiton or peplos),
and a cloak (himation).
The peplos is a large heavy piece of fabric made of wool
draped over the body and pinned at the shoulder with a
brooch.
There are armholes on either sides of the garment and
the open side is sown together.
The chiton is made out of line. It is a very long and very
wide piece of rectangular fabric. Its sown up at the sides
or at the shoulders, and girded around the waist.

22. MEN’S CLOTHING
CONT’D
The chiton is wide enough that sleeves could be fastened
to it with pins or buttons.
Both peplos and chitons are floor length and are typically
pulled over a belt, creating a pouch named a koplos.
Footwear: sandals, slippers, soft shoes, or boots.

23. WOMEN’S CLOTHING
Women similarly wore peplos and chitons.
Sometimes they wear a epiblema ( a type of shawl) over
the peplos or chiton.
On rare occasions Greek women donned a flat-brimmed
hat with a peaked crown.
Footwear: sandals, slippers, soft shoes, or boots.

24. WEALTHY GREEKS
Greeks of a wealthier class, like Oedipus, wore luxurious
woven clothes, and decorative jewelry and also donned
headpieces.

25. MAKEUP
Due to the violence acts in Oedipus the King, the makeup
required would have to emulate the blood and gore.

26. DIRECTOR Jailyn MIr

27. OEDIPUS AND THE
SPHINX
This is how I imagine the
style of the confrontation
between Oedipus and the
Sphinx to look. Do not
focus so much on the
image itself, but the
essence that
communicates that
Thebes needs a hero to
bring them out of
despair.

28. THE SPHINX
This image captures
more of what I
envisioned the Sphinx to
look like. A goliath in
size and menacing to
look at. Ignore the
person who is supposed
to be Oedipus. I just
wanted to capture the
Sphinx’s evil and
demonic essence.

29. AFTER OEDIPUS’
RESCUE
This is what I imagined the
kingdom of Thebes to look
like when Oedipus first
became king. Ignore the
futuristic elements and just
focus on what looks like a
kingdom that is fertile and
full of happiness, riches, and
splendor. All is at peace and
no one, including the king, is
thinking about or preparing
for a dark day.

30. THE CURRENT
SITUATION
This is what I imagine the
kingdom to resemble in
the present day of the
play. Infrastructure is
overgrown. The fields are
dried up. The people are
desolate and in despair.
The dark day that no one
saw or prepared for has
come.

31. ALEX PETTYFER-YOUNG
OEDIPUS
This is what I imagine
Oedipus to look like at the
beginning of his reign.
Young, full of strength and
confidence in his abilities.
This is the fearless Oedipus
that defeated the Sphinx and
saved Thebes from her
monstrous hold. This is
Oedipus the Hero.

32. DANNY DYER-CREON
This is the face of the man
that I imagined to have ben
loyal to Oedipus. His face
gives an air of sincerity that
he is not pompous, but
rather intelligent and
invested in the success of the
kingdom. He is smart in that
he can see the beauty of his
station and does not yearn
for more.

33. DAVID RITCHIE-PRIEST
This is the face of the man I
imagine to be concerned for
his people. He has the
confidence to speak to the
king eloquently and directly,
so he must have carried his
title for a long while. He has
good intentions, and
genuinely wants the best for
the people of Thebes.

34. CHRISTOPHER
LEE- TEIRESIAS
I imagine the is the face of the oracle, but more emaciated and the
eyes are clouded over from blindness. Imagine the alter ego of Jafar
in Aladdin. Missing teeth, skin and bones, and a maniacal look in his
eyes. This would be the burden of an oracle. Seeing what will
happen takes the mystery out of life. Seeing the staunch reality
without hope for a better outcome would make even the most
optimistic of people cynical. The oracle is very old and with age has
just gotten more bitter and fearless. He is not evil, just cynical and
miserable.

35. RACHEL SHELLEY
AS JOCASTA
I imagined the queen to be a
beautiful woman that was not
young, but that has aged very
gracefully. She is brunette, like her
brother Creon and very confident.
She has a clear idea of what she
wants and is not afraid to get it.
She is smart, but not above human
frailty. She has a genuine love for
Oedipus, but cannot handle being
in love with her son. Her suicide is
not a sign of weakness, but simply
of one’s brain snapping.

36. RON MACSTRI-MESSENGER
This is the face of an
aged man, but that is still
robust and can hold his
own in a sword fight. He
is refined from years of
going to kingdoms and
speaking with
dignitaries, but he is also
used to living off the
land and so is not
pretentious.

37. JEFF BRIDGES-SERVANT/
SHEPPARD
Face of a man that has seen
much and has great wisdom.
His heart is good and he
enjoys the quiet life of being
a sheppard. He tends to his
flock and has lived simply for
decades. He is still physically
strong from life in such
rugged conditions, but his
spirit has remained un-calloused.

38. DIRECTORIAL CONCEPT
Oedipus the King is as much about fate as it is about free will. If
King Laius had never banished his son, his son would have never
been his murderer. If Oedipus had never left home, he would not
have murdered his biological father, or married his biological
mother. Oedipus and King Laius created their own destinies by
trying to avoid the prophesies. Fear led them to make decisions
that ultimately led to both of their demises. However, it should be
noted that Oedipus’ fate was influenced by the decision Jocasta
made to give him to the sheppard. This play tells us that no two
lives are independent of each other. The audience should leave
pondering whether they believe in fate or free will, as there can be
an argument made for both within the play. Most of the play takes
place outside on the palace steps, with the audience of the people
of Thebes, as well as the audience viewing the play. The only event
that happens offstage is Jocasta’s suicide. Most of the play has
dialogue with all real action being imagined in the minds of the
audience. The play is set in the time of Sophocles, so set design
and costume choice should reflect this to the audience. Every
design element should illustrate the situation the economy is in.
Thebans should be dressed in tattered clothing and huddled
together for warmth. There should be very true children, due to the
high level of infant mortality. Not many people are over the of 30
or so, as living conditions are subpar. Even the royal attire should
look worn from years of repeated use. I imagine the play to be at
dusk, or sunset, with the lighting illuminated by torches.