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| Filename |
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DS_FT_vi07.mov |
| Short Desc |
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Seventh video interview clip with Theatre Designer Fran Thompson |
| Description |
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Question: The example that you gave of moving Coriolanus from the Swan, which is very particular, to the Barbican is very interesting, how do you keep the truth or the essence of that design, moving it from one space to the next? Answer: I think the ideas are fundamentally the same, the ideas didn't change at all. It was still set in Revolutionary France at the inception of The Revolution, it, or the first forty years I should say, and just as I felt that that was, what I had identified in Coriolanus to be the inception of the Republic and what a threat he was to it, and so I think the context was right, the political context felt very right to me, so I'd say the ideas were essentially the same. The difference was The Swan, demands I think, you have to be I think very careful, it's a very demanding space, you have to be very careful about how the set relates to that space. To try and impose something on it, I think is a deadly thing to do. You have to somehow, I felt like the set impinged upon the space and developed the space. That's what I felt I was doing anyway, I mean it's up to people to say whether they felt that was, you know, that actually happened in effect, but that's what my intention was. And then to take it into, and it had a chamber feel, that was the other thing, David really wanted that, he wanted this, and it is a very intimate space and the relationship between the stage and the auditorium is very particular. At the Barbican it felt far more operatic, so I'd say the relationship did change. It was slightly more distanced and therefore possibly more alienating in a way, a big white set, it wasn't as cosy, but I felt the ideas were the same, it was just the relationship with the actors and audience did change. |
| Source |
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DS_18_06_02 INT-07 (mini DV tape) |
| Format |
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Quicktime Progressive (video) |
| Type |
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Resource Movie |
| Rights |
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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. |
| Length |
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1 minute 31.01 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.