In many ways, modern theatre had incorporated multimedia into theatre successfully, particularly in modern adaptations of Greek theatre and in plays set in the far future where high technology is the norm. Modern adaptations of Greek theatre particularly benefits from the use of multimedia as it is a 'Theatre of the Mind' – something that most modern audiences will not be able to identify with and will thus find it boring. During long monologues in which a character describes what happens, images or clips of the actors acting out the scene can be flashed on the screen. Modern theatre's creed is 'show, not tell', and multimedia can aid modern adaptations of Greek drama in 'showing' very well. However, the clips themselves must be used appropriately, and it should not completely distract the audience from the actor narrating these events.
The second way in which multimedia is incorporated into modern theatre is in plays taking place in the future. Such as in Cogito, plays that have a computer or a computer-simulated character will definitely need multimedia so these characters will be shown to the audience as virtual. An actor playing such a part will most likely completely defeat the purpose of the character being in a computer or being a computer in the first place. Thus in that sense, multimedia more than enhances an overall production it is essential.
Another way in which multimedia is incorporated into modern theatre can be seen in the production of A Midsummer Night's Dream by SRT. In several points in time, the actors are filmed and, on the spot, flashed onto the large screen so that the audience who are unable to catch majority of the nuances of what is happening, especially those seated far away from where the actors currently are, can now be fully aware of the happenings in the play. However, this is also at points in time distracting as rotating images of characters are flashed onto the screen for seemingly no reason at all. In such ways, multimedia detracts from the actors' performance, as the audience are busy wondering about the images being flashed on the screen to pay them the full attention they deserve.
While multimedia is useful, the actors themselves should still be the main focal point of a play. When used appropriately and correctly, multimedia enhances a play greatly, especially in plays that take place in the future like Cogito. Multimedia should be a companion to the actual actors in order to be able to fully enhance a production; it should not be the main focus. If it is, how would one be able to differentiate between theatre and film?
2. Construct one set design for the extract you have studied, and adapt it for two different spaces. How does your set design in each space express the overall atmosphere of this piece?
I have chosen the flexible space and proscenium arch for my set design, which is shown below. (I apologize for the primitive drawings, but freehand on paper will honestly be much worse than this.)
The spotlights on, first, the puppets then Pa Ubu and Ma Ubu isolate them from the others, contributing to the overall atmosphere of isolation and uneasiness. The puppets are thrown into sharp focus by the spotlight, showing them as witnesses – outsiders – to the scene, especially in the case of the vulture-puppet. The stark spotlight shows the ‘truth’ of these puppets as witnesses, completely detached from the situation. The case of the spotlights on Pa Ubu and Ma Ubu is different: during Act One: 6, none of the lights will be on except for these two spotlights, showing the contrast of Ma Ubu’s words, Pa Ubu’s silence and the words flashing on the bright screen. This creates an overall atmosphere of uneasiness that is added on by the space between the glass booth of Pa Ubu’s shower and Ma Ubu’s armchair: they are isolated from each other with the screen in the centre, flashing words that are supposedly the ‘truth’.
I have situated the screen at the very back and centre of the stage. The light from the projector will illuminate the characters starkly, expressing an uneasiness in the atmosphere as such bright light lends to a feeling of exposure and vulnerability as nothing can be hidden. The resulting shadows create a sinister and uneasy atmosphere, as these shadows are of the puppets and are distorted by the light. The screen is placed on the centre of the stage so the audience will be fully aware of the contrast between the words on the screen and what the characters are saying – which is the truth? This uncertainty adds to the uneasiness. The screen is placed so far back in the centre so that every member of the audience will be able to see the words flashed on it clearly.
Lastly, the eye atop the camera tripod adds the most to the uneasy atmosphere. The eyes will be facing the eyes, ‘watching’ them with the camera tripod faced away, towards the screen. This arrangement creates a feeling of uneasiness as the tripod would seem to have an eye at the back of its head, watching the audience like the puppets watch the proceedings happening on stage. Just like the audience is watching – witnessing – the play, the ‘all-seeing eye’ is watching them instead. The feeling of being watched by such an eye expresses an uneasy and frightening atmosphere to the audience, who will then be able to understand the play and empathize with the characters more. The lack of privacy – on the audience’s part and on the characters’ parts – will express this uneasiness and fright that is prevalent in the play.
~ Justine
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