|
|
| |
 |
|
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_CD_vi08.mov |
| Short Desc |
: |
Eighth video interview clip with Theatre Designer Chris Dyer |
| Description |
: |
Question: I would like to look at a couple of specific examples of Shakespeare productions and of your work in relationship with particular directors, for example Michael Bogdanov who you've done a number of productions with both, I believe, with the RSC and with the English Shakespeare company. How did that relationship develop and what worked or didn't work about it? Answer: (LAUGHS) It started really badly. We were introduced to each other by Trevor Nunn. I was working for the RSC at that time, in fact I designed the basic stage for that year and Trevor had asked Michael to come and direct The Shrew and so he suggested to me that I might like to do the show and we met and went for a drink. The design came almost immediately from a kind of one-up-manship. I don't know if I took an instant dislike to him or something but he kind of came on with this idea of this drunk kind of wandering around the auditorium and I thought 'hello, what have I got here? Can I cope with this or not?' I mean he had quite strong ideas right from the beginning and I, kind of, almost as a flip remark, saying 'that's okay as long as he climbs on stage and pulls the scenery down'. That kind of, I think, must have gelled in Mike's mind as, that will work. And then there was a very kind of painful month I think as we thrashed the design out and, in many ways, I think, what we were thrashing out was a way of working and there were lots of misunderstandings and kind of blind alleys we went up at that time until we got the show that we did and it was very successful. One of the things, I talked about aligning yourself with a director, one of the things to be careful of is not to lose your character, your style of work you know. A director might say to you I would really like such and such a designer's work, can you do that? And you might think 'oh yeah, I can do that' and so you end up being, a kind of, a poor copy of this other designer. It's very much about whether you can retain your own integrity, I think, as a designer and one of the things I felt about working with Mike was that what we got out of it. I not only retain my integrity but actually took what I felt was a step forward in terms of the work that I have been capable of up to that time. Also what we learn through the show is that we have a very similar outlook on life, we enjoy a laugh and have very similar political views, which I think is important when you are working together like that. |
| Source |
: |
DS_05_06_01 INT-01 (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 6.16 seconds |
|
Arts and Humanities Data Service (AHDS). Copyright 2003-5.