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| Filename |
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DS_JT_vi18.mov |
| Short Desc |
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Eighteenth video interview clip with Theatre Designer Jenny Tiramani |
| Description |
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Question: How has your own approach to design changed in the time that you've been designing? Answer: Well, I hope so. I hope so, although, yes, yes, I mean gosh, that's a really, you know, it's very difficult to sort of say whether one's work's changed over, well to me, I think it's twenty five years or something because you just hope it's got better. But, I think it's got stronger, I think it's got bolder and I've always used a lot of colour, you know, I think the first review I ever got from Michael Billington, you know, called what I did tuppeny coloured rather than penny plain because at the time, you know, there was a lot of theatre which was, the palette was dreadfully beige and grey and I had never understood that really, I've always used a lot of, a lot of intense colour and it's, yeah, you know, it's one of the things I'd say about my work is that I am a colourist, you know, sometimes it gets too much. But some people, some designers almost work in monochrome entirely, that's you know, a common trait and so I think I've probably got better at these, you know, I hope I've got better at it. But my general approach, I think, started off, but this is the thing about fashion, you see, I was trained at college during the mid seventies at a time, by Malcolm Griffiths who had come from Paradise Foundry and working with David Hare and Howard Brenton, he'd been one of the young, you know, young turk directors in the early seventies, late sixties, totally into concentrating on the performer. You know, the performer being central and doing very minimal environments for the performer to work in, but then during 1980s somehow I got caught up in the whole wave of doing big perspective scenery and, you know, with Renaissance, you know, kind of very aggressive set design. And so did people like Ultz, you know, people I'm very close to and I think all our work, his work, my work has now pared down again, it's gone back, if you like, to looking at the performer in an empty space and starting from that and just trying to be a bit purer about everything. Now whether that's something that's, you know, that's related to the fashions of theatre design I think, more than us as people, you know as designers. But I also think maybe, I hope, I'm nearly fifty now, that, you know, hopefully I have reached the stage where I'm better at distilling and I can go back to distilling where my work's not about ego, it's not about how, you know, I can make this huge steel wall that's kind of got three compound curves in it and, you know, it's not about showing off, I can do all that stuff, I've done it. But it's actually about producing something which is a distillation and which is really, you know, as kind of honed down as I can make it. |
| Source |
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DS_06_06_02 (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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3 minutes 13.16 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.