This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
Production ConceptA production concept” is a visual app.docxbriancrawford30935
Production Concept
A “production concept” is a visual approach that a director takes when he or she puts a play upon the stage.
Fortinbras by Lee Blessing
A production concept may tell the story of the play in a straightforward, realistic way. In such a case, the “elements of production – that is, the costumes, sets, lights, sound, makeup, props, and acting style – will resemble something that you would see in the natural world.
Topdog/Underdog by Suzan-Lori Parks
Or, a production concept may be highly symbolic or political in nature. In this instance, the lights and setting are non-realistic, but the costumes resemble the uniforms of Nazi Germany in the 1930s and 1940s.
Elements of production
costumes
sets
lights
sound
makeup
props
acting style
When theatre critics write essays, they draw conclusions about production concepts by describing the elements of production (costumes, sets, acting, etc.)
When you critique videos of performances and live performances in this class, you should do the same thing: talk about how the elements of performance reveal your understanding of the production concept.
The production concept is created by combining the elements of theatre.
The photos that follow are from Dr. Faustus: Occult Remix, Nagelberg Theatre, New York City, 2004. As you look at them, think about how the elements of production relate to the production concept. To be more specific, the production concept for this production had two goals:
To represent the black magic as “authentic” or “real.”
To suggest that Faustus never actually left his magical temple, but, rather, was deceived into thinking this by hordes of demons in disguise.
The directorial concept of Dr. Faustus was realized through:
Costume
Music
Make-up
Performance style
Masks
Lighting
Scene design rooted in actual magical practice and symbolism.
Performance analysis is done by answering the following questions about a theatrical production:
What was the production concept for this production?
How did the director use the elements of theatre (i.e. costume, make up, acting, sets, props, sound, lights, etc.) to realize the production concept on stage.
To what extent did the elements of performance reinforce the production concept on the stage?
To what extent did the elements of performance weaken the production concept?
Overall, was a clear directorial concept realized in this performance?
Why or why not?
If you gain a keen understanding of how the elements of theatre relate to the directorial concept, you will have no problem discussing and writing about the live theatrical productions that you see – even the most confusing and perplexing ones!
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This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
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1. Children of Paradise:
Discussion Questions
1. Ben McCann argues that this film is an allegory of the
Occupation. What elements of the film function as
Allegory? What elements of the film suggest the
Occupation? What message does the film seem to convey
about these two things?
2. Another aspect of the film that McCann points to is the
relationship between the theater and the street or life and
art. In what way does this duality function in the film?
What elements of the film suggest theater and which
street? Do these elements blur and intertwine? If so,
where?
3. Think about space and time in this film. How is each
structured by the film (camerawork and editing)? How
does each function? In what way do space and time
contribute to the themes above?
3. Context
Made during Nazi Occupation in “Free” France (Studios
de la Victorine)
Made outside of official production channels (not
through Continental Films)
Made collaboratively in studio production style with
many of the “stars” of French cinema (actors,
producers, set designers, etc.)
Made during rationing and shortages (via the
blackmarket) but mise-en-scene belies this
5. Historical Setting
Paris—Boulevard du Temple (Boulevard du Crime)
Theater
1840s
References to actual historical figures (Fréderick
Lemaître, Baptiste / Jean-Gaspard Debureau)
Fictionalized account that blends elements of history
8. Themes
Life vs art (theater vs reality)
Art vs. art (mime vs. theater / theater vs. cinema)
Sound vs. silence (what can and can’t be said)
Censorship / Surveillance
Performance (Role Playing)
Power (economic, political, artistic)
Resistance / Revolution
Love
