|
|
| |
 |
|
QuickTime and the QuickTime Logo are trademarks of Apple Computer Inc., registered in the U.S. and other countries.
The Get QuickTime Badge is a trademark of Apple Computer Inc., used with permission.
|
|
| Filename |
: |
DS_JT_vi07.mov |
| Short Desc |
: |
Seventh video interview clip with Theatre Designer Jenny Tiramani |
| Description |
: |
Question: There are conventional conventions which I guess get broken down in a different space, is that also part of the differences in the experience? Answer: Yes, yes, absolutely it is that you're not kind of hampered by, well you can't use, a lot of conventions at The Globe that you might use in other theatres, you simply, you know, certain things, it's much, much more effective at The Globe to use a sound to create an environment than it is to use something visual, but in other cases, a sound effect is ludicrous, so you know, so all the things, all the kind of notions that we used to have, the group of us that worked there, you know, about how you do things, how you cue things, you know, everything is different, and when you've got a lot of conventions that you get used to using at The Globe and find them much more strong, much more helpful, it's quite interesting to then try and take them indoors and use them there and then you realise that it's quite fresh and you're enjoying all that, you know. I mean, it's also always having live musicians to design for, which is something that I've come across in new writing, particularly the 7:84. You know, that's a direct connection, that's the only other theatre company I've worked in where there've always been live musicians. You know, the idea of having recorded sound would have just been no, absolutely no way. And having musicians and actors together on stage telling a story and having a mixture of, you know, song and music and text, which of course Shakespeare does in, not every play, but nearly all the plays contain songs and masque and music, and so now I go back and I find recorded sound sometimes unsatisfactory too. I, you know, I want, why are there not live musicians there, it's much more exciting, it's a live event after all. Question: So you do work very closely with the composer and the sound designer? Answer: Mmm, absolutely. Absolutely. At the Globe it's a big component that you've got, it's, it's you know, it's got to be a mixture of eye and ear telling a story there that you know, out of over a hundred references during the Shakespearean period by witnesses at the time, to going to the theatre, most of them talk about going to see a play, but there are this collection of references about going to hear a play and they are almost all by Shakespeare. So to Shakespeare, Shakespeare talked about not going to see a play but going to hear a play and I think, you know, that was what was important to him rather than the spectacle of watching it, but that was contrary to his times and I think that at The Globe now we have to kind of get this balance right. We're more always looking acutely at what is the balance in story-telling, in theatre, between what you hear and what you see, whereas I think in a lot of other theatre that I've worked in, all the emphasis is on what you're going to see, you know, even if it's minimal, it's the visual experience that we're talking about often. Question: Which puts quite a bit of pressure on you? Answer: Yeah, yeah. And unfortunately I think encouraged particularly in the 1980's, late eighties and early nineties, a kind of over-blown kind of style of design which I found slightly distasteful and took part in at times, but you know, that's looking back on it. The Thatcher years, you know, conspicuous consumption and, theatre design did get very conspicuous I think. |
| Source |
: |
DS_06_06_02 (mini DV tape) |
| Format |
: |
Quicktime Progressive (video) |
| Type |
: |
Resource Movie |
| Rights |
: |
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 |
: |
3 minutes 58.14 seconds |
|
Arts and Humanities Data Service (AHDS). Copyright 2003-5.