Churned these out today. Some changes. More depth. Added mirrors as props.
Showing posts with label ucla theatre. Show all posts
Showing posts with label ucla theatre. Show all posts
12.4.12
4.4.12
2.4.12
15.3.12
thesIS done
“The melody begins, an undulant, endless melody. [It] loses itself horizontally, escapes from our hands as we see it withdraw from us toward a point of common longing and perfect passion” –Federico Garcia Lorca
10.3.12
2.11.10
glass menagerie final model
I had a lot of fun lighting this model. It was interesting to go back and explore the show from a different perspective. I wanted to create a space that was ethereal but at the same time had the menacing and heavy presence of a collapsed building. The structural elements are inspired by rays of light through a fire stair. I think if I take more photos, I would have some with the background structures totally blacked out, which I think would help soften the space.
Working on "The Hothouse" by Harold Pinter next.
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20.10.10
1.10.10
blast from the past
Less literal. More emotional.
(Crappy) photo of my design from two years ago:
11.5.10
de goya, opera, and photoshop
This quarter, we are designing an opera, Rigoletto. The assignment is to realize one scene through model, draftings, etc and I chose the final scene because it is the most emotionally charged.
In the final scene Rigoletto is about to dump the body of the Duke into the river. When he hears the Duke singing in the distance, he opens the bag to realize that the dead body is not the Duke, but his daughter Gilda. Gilda had herself killed in the Duke's place because she is in love with him. When Rigoletto opens the body bag, she sings a beautiful aria for about 8 minutes (because what's an opera without some drama) and then dies.
This collage is my emotional response to the scene. My main source of inspiration was the work of Francisco de Goya. More to come.
14.4.10
elektra
Production photo from Elektra. More to come. My camera didn't take the best photos so I'm waiting on the good ones from the production manager.
For this production of Elektra, the design team's goal was to create a world inspired by the 1930s. Research of migrant worker's shacks in the 1930s guided me to this silhouette and choice of materials. The interior of the shack represents an emotional, psychologically disturbing space which is only revealed during the murder of Elektra's mother, Clytemnestra. Continue
29.3.10
elektra loveshack
Here is a teaser photo of my first solo show at UCLA, Elektra. These are not the final production photos. I just took this in the theatre this morning. My draftings, paint elevations, and more photographs are on my website. The show opens April 14th.
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25.11.09
20.11.09
stop motion
For my digital media class, we are making stop motion videos in Photoshop.
The story behind mine is Ted goes to bed and my stuffed lamb, Bowie, gets up and runs into the bathroom, turns on the faucet and has an adventure in the bathtub. An octopus knocks over his boat and my stuffed Hippo, Eli, picks up Bowie and brings him back into the bedroom. Ted wakes up and goes into the bathroom and finds water at his feet and the octopus floats by. He picks up the octopus and looks confused. Blackout.
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This is the first three scenes of mine. I do not have a title or a song to go with it. Suggestions are welcome.
stop motion from Kaitlyn Pietras on Vimeo.
26.10.09
the book of longing: model
Taking Dylan's suggestion, I decided to play up the underlying structure and extrude these three "shells" from the backdrop. Photos with better lighting to come. My critique is tomorrow/in seven hours.
19.10.09
the book of longing: collage
My current scenic design project is "The Book of Longing", a book of poetry and song by Leonard Cohen with music by Phillip Glass. Phillip Glass selected the works that were put to his music for the project. From Leonard Cohen's book, he chose a series of pieces that portrayed the range of human emotion and put the final songs in random order. In a sense, he deconstructed the work and emotional life of the poet.
Through research, I discovered that the book is a result of over 20 years of work. Leonard Cohen said in an interview "I can hold in a great deal." My concept is based on this statement, and I created a collage to communicate my initial ideas.
In the foreground is a flower made of translucent fibers overlaying a dandelion. This represents the fragility of revealing emotional experiences, whether tragic, humorous, passionate, etc. The umbrellas in the background are the result of a need for protection. Finally, the overlaying image is an egg exploding in a hand (some of you may recognize it as the cover of the new YYY album). This is the moment when the work is released.
In essence, my scenic piece will be a deconstructed “cocoon”. Zaha and Maya Lin are my main sources for inspiration. Also, I am reading “Architecture and Disjunction” by Bernard Tschumi. More to come.
15.10.09
waiting for godot: storyboard
My final version of "Waiting for Godot". The tree is the central piece of the design as it morphs throughout the play. More documents to come.
1.10.09
waiting for godot
My first scene design assignment is "Waiting for Godot" by Samuel Beckett. This is one of the most well known absurdist plays and it is a critique on how we spend our lives. Didi and Gogo arrive at the same place every day waiting for a character named Godot, and every day a young boy comes by to say Godot will be coming tomorrow.
I am playing with the idea of time lapse for my design. Their actions are in cycles, so I thought it would be interesting to show the growth and death of a tree. Each image would show what is behind and ahead in the cycle. Perhaps, layering them through multiple screens and using lighting as a key part of the design.
Also, those of you not familiar with the play; the scene in the script is described as "a tree. a country road." I played with other ideas but I feel like you cannot...should not...design this play replacing the tree.
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