暑期戏剧课程丨一次视觉和听觉的专业学习机会

服裝設計和人物分析工作坊

講師 ： Paul Kim

Costume Design and Character Delineation Workshop

Devised by Paul Kim

Workshop Description 工作坊描述:

This workshop will involve activities to brainstorm and to conduct in depth research alongside group discussions and team editing that will lead to finalized costume designs for specific characters within the play, The Good Person of Schezuan by Bertolt Brecht.

工作坊中将涉及到头脑风暴，以及激烈的研究和讨论，来进行特定角色服装设计。会用到的剧目为布莱希特的《四川好人》.

Workshop Objective工作坊目标:

The primary objective of this workshop is to understand a costume designer’s process of analyzing characters within a play, understanding the world the characters take part in, and developing the costume design ideas and concepts for further conversation and exploration with a production team especially with the director. In addition, defending those design ideas and concepts with clear communication will be encouraged for the point that collaboration is key.

这个工作坊的目标是了解一个服装设计师在戏剧中分析角色的过程，了解角色所在的戏剧世界，并与制作团队特别是导演一起发展服装设计想法和理念以进行进一步的对话和探索。这里，在了解合作是前提的基础下，工作坊参与者也都会被鼓励去坚持自己的设计想法和理念。

Note: Before the beginning of the workshop, all participants must have read The Good Person of Schezuan and also have a small notebook to keep as a journal for our designing journey.

在工作坊开始前，需阅读《四川好人》;准备一个笔记本。

Note: This is a workshop dealing with exercising ideas and exploring concepts with the support of whole group. There is much encouragement to present and assignments printed out rather than through digital sources so that the group can effectively participate discussing and helping out with editing.

一般来说对于作业尽量避免数字呈现。这个工作坊主要涉及想法上的训练和概念上的探索 。我们鼓励学生打印出大部分材料，以便课堂分享和编辑。

Schedule:

· Introductions介绍

· Discussion: What is designing? What is coordinating? Why do we design?

讨论：设计与合作

· Discussion of The Good Person of Schezuan: Which characters do you favorite? What do you believe is Brecht’s intention with this play? What do you believe is Brecht’s intention with each character? 讨论《四川好人》

· Project Introduction: Costume design 6 characters within the play with a specified time period, culture and/or genre outside of China. 1 character will have two looks.)

项目设计课堂作业：初步设计6-8个角色，非中国相关的特定时期／文化／类型。一个角色两种样子。

· Lecture and discussion: Researching methods and inspirational journeys.

授课与讨论：研究方法和灵感获得。

· Assignment to be completed for next day: Bring in artwork (can be created by the student), pictures, family photos, news articles, inspirational sketches and any other materials that reflect the student’s perception of each character in the play.

作业：

将艺术作品（可为学生原创），图片，家庭相片，新闻文章，激发灵感的草图和其他能够反映对每个角色理解的材料 。

· Presentations and discussions PART 1: Everyone will present their materials and findings. Everyone will then participate in the conversation with questions and opinions about each person’s unique approach. This is also a great opportunity to pass on ideas to each other and help each other in exploring each other’s worlds.

展示与讨论自己的设计思考与发现，以及个人方法分享

· Lecture and discussion: How to appropriately share your opinion. How to spark an idea and not give the idea. How to critique like a rival. How to critique like an enemy.

授课与讨论：如何分享自己的想法，以及评价他人想法。

· Reconfigure session (at least 1.5 hours): Everyone will take the time with their laptops, ipads, etc to edit their ideas or go into further exploring from the feedback they have received.

重考量与修改自己的原初设计

· Presentation and discussions PART 2: Everyone will share their new results and also explain why they feel so strongly about certain ideas or choices they have made for PART 1.

第二轮展示与讨论

· Assignment to be completed for next day: Write out a character description for each character. Write a character analysis (history, personal desires, short dialogue or monologue, etc).  Bring in art supplies: Anything.

作业：为每位角色写角色分析

· Acting and discovery: We designers must live with these characters. They must fill spaces in our head so that we take their steps in the story. The participants will share what they have written. Monologues and short dialogues will be acted out by the designer and/or others in the room. We may do the same with actual lines from the play for comparison purpose.

表演与新发现

· Opinions and discussions: Listening to lines from a play is very different from reading the lines in a play. We will discuss what thoughts may have changed from seeing actual people perform and act out everyone’s writings and descriptions as well as what is supplied from the script.

观点与讨论：设计观点受演员表演的启发。

· A Colorful Session: We will take all the notes from the earlier sessions, research, and inspirational works and give light to our personalized characters. We will sketch bodies, create patterns, draw abstract lines and shapes, make gesture drawings and decide colors for characterization. This will be a very meditative session.

由想法灵感到草图绘制。

· Assignment to be completed for next day:  Cast your characters with any actors of the world. For this assignment, Chinese actors can be used if desired. (We need more Asian actors to be highlighted anyway!) Have headshots or the similar printed out so that we can see the cast as a whole.

作业： 演员选择

· Presentation and discussion: We will be playing “Keep Your Casting Director Hat”. Everyone will share why they chose their specific actors. Everyone must persuade the director or the producer who we will assign. Everyone will share the actors’ skills and past work but mainly apply them to their concepts and ideas that is in the works. Please note that this is supposed to be a fun session so there will not be any discrediting of the actors nor the designers for choosing their actors. Questioning those choices are encouraged but only in the aspect of the student’s design.

演员面试：从设计师的角度说服导演，为什么你觉得这个演员合适。

· Costume is Clothing After All: We will be at the point of having the inspiration, concepts, personalities and bodies. We will, in class, research the specifics of our chosen or given genres: culture, time period, region, etc. Silhouettes are very important for accuracy unless it is an unconventional concept (ex. Turn of the century vs Planet Saturn year 4000)

背景调研

· Assignment to be completed for next day: Make collages. Everyone will take everything that they have researched and want to apply for each character and make a collage for each character. Minimize the amount of images for each character and choose only the ones that are the strongest or most meaningful. (Ex. 1 inspiration, 1 historical/cultural, 1 actor, 2 color/art, and 3 clothing specifics/ideas.) However, please bring all the images the next day for discussion and possible swapping images. Bring art and craft supplies like scissors and glue sticks for in class work.

作业：角色服装板。根据对于角色的理解与调研，为每位角色绘制几幅设计图

· Presentation, discussion, and reconfigure session: We will discuss everyone’s collages. Be prepared for changes! Others might have loved a certain image that you decided was no longer relevant to your character and design. However, a designer must remember not to alienate his or her audience!

展示，讨论，修改设计：角色服装板。

· Lecture and discussion: How to make your final character look boards for final presentations. The art of not making art. Keep the decorations for parties. Highlight your design not your art skills. How to share your work process onto boards and maintain its visual travel.

授课与讨论：如何确定最终设计与如何展示。

· Assignment to be completed for the next day: Work on costume renderings (any media of art). Work on final presentation boards for the 23rd.

作业：最终确定自己的设计。

· Lab day: Everyone can bring all the things they are working on if they have questions or need guidance such as board image placement and sizing. However, everyone should bring what they currently have of their costume renderings so we can see everyone’s progress.

自行学习准备日

· Assignment to be completed for the next day: Continue work on renderings and boards. Prepare for final presentation on the next day.

· Design Gala: This is a time to celebrate everyone’s hard work but mostly see the beauty of differences in imaginations. Everyone will introduce themselves and then follow with their presentations of their entire process. 终期成果展示日：邀请嘉宾，免费对公众开放。

劇場聲音工作坊

講師：Yu-Yun Hsien

Theatre Sound Design Workshop

devised by yuyunhsieh

Workshop Description:

Using Bertolt Brecht’s The Good Person of Szechwan, this workshop aims to explore the process of sound design for theatre productions including script analysis, conceptual approaches to sound, sound plots, music underscoring, atmospheric sound, spot effects.

以布萊希特的四川好女人為例，這個工作坊探討劇場聲音設計的過程以及內容。

Workshop Objectives:

· To develop an understanding and appreciation of sound design as both an artistic and technical process. (了解劇場聲音設計在美學上及技術上所扮演的角色)

· Exploration the tools and resources used to create sound. (探討設計聲音所需要的工具及資源)

· Introduction of software and SFX that apply to theatre sound design. (介紹聲音設計軟體及效果)

· Create a basic foundation for understanding audio editing, recording, programming cues and playback. (了解聲音剪輯，錄音，編輯cue點和回放)

Required Script:

Bertolt Brecht, The Good Person of Szechwan

(Chinese Translation: https://www.douban.com/group/topic/5211439/)

Reference Texts:

· Deena Kaye and James LeBrecht, Sound and Music for the Theatre (1999)

· David Collison, The Sound of Theatre (2008)

· Ira White, Audio Made Easy (2007)

Schedule:

The Foundation of Theatre Sound Design 劇場聲音設計基礎

· The Dramaturgical Functions of Sound

· Sound Design and Onstage Action

· Emotion and Contrast

· Theatrical Forms/Styles of Sound Design

· Conventions of Theatrical Sound Effects

· Sound Affectivities

Project 1: Listen and Interpretation

· Listen: This project is designed to push you to listen and distinguish the variety of sounds that inform your surroundings. As a sound designer you must understand the environment you are trying to recreate. For this project you must choose a location where you can sit for a period of time. Write down each environmental sound that you hear for half an hour with the following detail:

Sound: (Description)

Source: (Description)

Direction: (Using clock designations)

Meaning: (What does the sound tell you about the environment)

· Interpretation: How we interpret the environment we are in is based in part on the sounds around us but also in part by our other senses. How do we understand sound out of this context? Based on a sound clip, you will need to identify all of the sounds and then make up a story that supports the sounds that you hear. This story must incorporate all of the sounds. The story must be able to be performed on stage.

Developing the Concept and Design I 設計觀念發展 I

· Working with the Script

· Considering Other Design Elements

· Meeting with The Director

· Budgetary Realities

· Building Sound Plot

Project 2: Building your first Sound Plot with Primary Cues.

· After a reading of Brecht’s The Good Person of Szechwan, make a list of all the sound cues written in the stage directions or indicated in the dialogue. By the end of the session, participants will present their primary sound cue sheet to the workshop.

Developing the Concept and Design II 設計觀念發展 II

· Discussion

· What are the successful interactions between the director and designers?

· What is the role of the sound designer?

· What is the role of sound board operator?

· Beyond Sound Effects

· Sound and Space

· Sound and Time

Project 3 Create the sound design concept for The Good Person of Szechwan

As a sound designer you are often required to discuss your design as a concept rather then as a completed production. This ability allows you to communicate with other designers, the actors and the director.

Based on the primary sound cue sheet, you will function as your own director. You can set the production in any time or location that you believe is appropriate. Develop your sound plot by adding more sound cues that fit your concept.

This project will culminate in a design presentation to the entire workshop on July 23.

Building the Sound Cues I 聲音合成與制作 I

· Prerecorded Cues

· Recording

· Editing

· Refining Cues