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DS_JN_au06.mov |
| Description |
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Question: How do you manifest your ideas in the first instance and then how do they develop, I mean do you work with sketches, do you, bits ofÕ?? Answer: I primarily work in 3D because I was a sculptor, I also think that there's something about a space, a three dimensional space that has an aura, it's a sort of, you're, because what you're doing is sort of dissecting that space and you're putting atmosphere into that space, I tend not to be able to do that on the flat. I worked a lot in America and they're very unused to model making there, they do everything on the flat and they still do scenery, I usually make a model of the theatre space and I'll start with anything, a lump of clay, anything to just throw in the box to desecrate it, so that it's not, you know, it's not a pristine space anymore. You know, sometimes it's a nightmare getting started, other times it comes just like that, you know, I did Equus, although it's not a Shakespeare play, I mean, there's really little difference to doing a conventional play and a Shakespeare play, really in the theatre, but I did that virtually over night, other productions I've worked on have taken me months and, you know, half a year sometimes to do, I mean I did a Nabuko for the Met last year and that was a, I mean a, four, five month design process, very sculptural, you know, sort of pulling it about, taking it, sort of Giacometti , you know, you know, sort of doing it, doing it, [makes noises], slap another bit of clay in there. I mean one of the, one of the things that is both significant and rather strange about my work, and my work in particular, and I can't really speak for anyone else, I'm slightly schizophrenic or something because my drawings are never the same, they could be done by ten different people, whereas many other people with their drawings are completely consistent, completely, you know, them, and mine are sort of ''BleerghÕ?, one minute they're sort of tight as can be, another minute they're like really loose, and it's kind of what it's like with designing. In the sense that, you know, that old clich¦® the play is the thing, then that's what makes me nervous, is that every time I get a script it's a new white piece of paper, it's an empty box, it's, and I have to try and illuminate and bring to life something in that box, prior more often than not, before the actors start rehearsing, but there almost, I mean apart from my use of garbage which is sort of fairly legendary, you know there's not, I don't particularly have a style I don't think. That's why when I was reading those things [doorbell rings], I was just remembering back and you know the difference between, you know, the As you Like It and the Lear couldn't be more poles apart. So, it's really trying to do something for the production, for the piece, rather than trying to sell any particular, you know, stylistic ideas. |
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DS_16_05_02 (2xmini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
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This clip may be used for educational purposes only, any commercial use of this material requires permission from the copyright holders. Misuse or misrepresentation may result in legal action. Copyright holder: Christie Carson, COMPH, Royal Holloway University of London. |
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3 minutes 48.25 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.