Theatre Design & Technology - Spring 2005 - 49

12

Resembling the subjects of Hokusai's humorous studies,
Masako Morita's costume sketches for Nijuniyamachi (The Vigil
of the Twenty-Second Night, produced by the Theatre Group
Ashibue, Japan) depicted villagers with strong, architypical personalities. A panel-sized group photograph (figure 12) allowed
her to closely associate her characters with the actors who portrayed them. The physical and facial qualities evidenced in the performance suggested that she deserved a
directing credit as well. Rich embroidered
ornament belied the simplicity of the burlap
kimono accompanying her display.
Richard Hudson's Tamerlane design (figure 13) for Florence's Teatro alla Pergola reminded me of the beauty of a clean, simple
metaphor carried out on a gargantuan scale.
In a featureless white room of many doors, a
giant foot pressed down upon a floating globe.
In production photographs, iconographic images floated past-a hieroglyphic eye, a
Toscan elephant-while changes in illumination reinforced the dream-like surrealism of
the compositions.
In Zsolt Khell's setting for Only One Nail
(figure 14), two middle-aged peasants stood
dwarfed by a mammoth cavern, formed of unfinished wooden slats which radiated in waves
toward the viewer, like layers of cloud banks
after a storm. Light formed shadows and pools
of saturated color on the deck. Staged by
Hungary's Csiky Gergely Theatre, catalog photographs indicate the production took a similar approach.

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2005

Contents
Theatre Design & Technology - Spring 2005 - 1
Theatre Design & Technology - Spring 2005 - 2
Theatre Design & Technology - Spring 2005 - 3
Theatre Design & Technology - Spring 2005 - Contents
Theatre Design & Technology - Spring 2005 - 5
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