Theatre Workshop Course Outline

“There is a great affinity between theatre projects and architectural preoccupations, relating to space, function, philosophy and especially the poetics of building. This is especially true of our company “Ex Machina” where we attempt to extract poetry and magic from technology and architecture. We share in our reflections on the true “metaphysics” of space as a vehicle for assembly and cultural fiction”

Robert Lepage, Interview – Le Devoir, 1995

Making a Scene - Theatre Production Workshop

Yvan Cazabon, Associate Professor

Workshop Themes

This workshop is about the ongoing struggle and hence the inevitable survival of theatre (and architecture) as cultural vessels of narrative …

Philosophical approach

This Workshop will introduce the complex workings of live theatre. It will be concerned with the theoretical and technical aspects of theatre production including questions of interpretation, abstraction, representation, design and construction. Students in this workshop will work closely in small teams in order to communicate and debate ideas about specific narratives and/or plays as well as more general concepts relating to (re)-presentation and the community role of theatres and live performances.

The structure of the course

The structure and scheduling of this workshop will be in large part determined by the live performances and dress rehearsals of a four-performance event, as set by this workshop and the defined intentions of the 4 workshop teams. Participants in this workshop will undertake to prepare, produce and present events/plays as they evolve from the structure of the term. These will be described, under the general title of “True Stories” with a sub-title derived by each group.

Participants in this workshop will be assigned to one of 4 team that will be comprised of 4 students and will be responsible for:

• The design, design development and construction of all required sets and stage features. Note: All productions are based on “one-set” plays and will benefit from “elegance of means” and rarefied abstraction.
  
• The design and mock-up of the “press-package” including posters, flyers and promotional material.
  

Delegation of work will be discussed within the group in consultation with the course’s tutor. 

By the end of Week One, groups will have been formulated and assigned readings will have been distributed to all group members. It is the responsibility of each participant to complete all readings and to remain in close contact with other team members. Due to the fast-pace of theatre production, development, impromptu gatherings, field trips and presentations will be necessary in order to deliver the product in time for the final deadlines/performances. A supplementary schedule, highlighting important dates will be distributed under a separate cover.

Also, this workshop will introduce participants to the personnel of theatre production (directors, set-designers, lighting designers, artistic directors, etc.) who will be invited to give lectures and presentations. These will be supplemented by field trips to various theatres in Ottawa.

Special Requirements

Due to its design/build aspects and to the short working schedule, this workshop will be limited to eighteen (16) students distributed into four assigned teams. All participants as a co-operative effort will produce the last presentation. While related construction experience is an asset, it is not mandatory to the work involved in this workshop.

Assignments

Minimum Workshop deliverables, expected of all participants are as follows:

1. Set design (drawings and models) of individual interpretation of group defined narrative and play.
   
2. Group critique and proposal of final design for construction.
   
3. Set construction (design/build).
   
4. Lighting + Sound installation.
   
5. Press Kit mock-up: Posters, flyers and promotional ads for assigned play.
   
6. Personal Logbooks documenting lectures and in-class presentations, field trips, design and construction processes and final results. This “diary” should include photographs, drawings and sketches, as well as production notes and instructions.                  

Note: Individual hand-outs or verbal directions presented in addition to this course outline are to be understood as additional requirements of the workshop course structure. Participation in group efforts and completion of assignments is mandatory and will figure in the final evaluation of the workshop output. Examples of such assignments are as follows:

WELL-COMPOSED AND CAREFULLY LIT photographs of figure/ground (actor/stage-set).

Mock-up temporary installation in Pit or assembly room (as required); using: people, objects and lighting sources.

    Supplementary sketches.

Defining Narrative

Students are asked to research a concept of ‘Narrative’ in order to define their group strategy as well as their group’s story-lines/scripts. Of note, the following text will be researched and discussed in group seminars.

All Must Read:

Artaud, Antonin. The Theatre and Its Double (selected chapters)

Artaud, Antonin. Selected Writings – Intro. by Susan Sontag (Ed.)

Also: Selected articles (to be handed-out in class)