THEATRE GROUP PROJECT 74

Oedipus the King

SET DESIGNER By: Chris Tobar

THE STAGE

A thrust stage with an 8’’x6’’ rounded top double door that leads to the “palace” ie the backstage with curtains on both side and a 15 step stair leading down into the main open stage.

At the foot of the steps, there are two altars where character gather during certain scenes.

Actors will either enter from the “palace door” or from the audience aisles.

THE PHYSICAL LAYOUT

PalaceDoor

BACKSTAGE

Stairs

Stage

Curtain Curtain

Altar Altar

THE STAGE

The production should be held in large stages.

It will be able to hold the chorus of 3-7 people, and allow the lead actors a lot of room to act and move in a non restricting environment.

SCENIC DESIGN Following the original script’s location and time period, the stage will have various past Greek décor, and follow a realistic design.

All structural elements such as stairs, pillars, doors should appear to be marble or stone.

MOOD

The play should be done outdoors or use elements that would give the same impression, such as trees, and lighting elements

Sets a mood where we feel like we’re watching a primitive ancient world we feel far and advanced from to shock the viewer when seeing how relatable the play truly is.

MOOD

Everything on stage will be bland (no bright colors) to show the antiquity, and realism of the Ancient Greek setting.

Also will be set heavily at night time, to set a darker mood to the play.

CENTRAL IMAGE / METAPHOR The stairs and altars on the side are the central image of the set.

A lot of the action occurs as actors enter and exit the palace, so the stairs are a hub of activity.

The stairs also signify Oedipus’s fall, at start of play he’ll stand confident at the top.

CENTRAL IMAGE / METAPHOR As he learns the truth of his actions he goes farther away from the palace, and falls to the end of the steps nearing the audience.

SPECIAL EFFECTS

The stage will be decorated with at least 6 torches at a time, which can be actual torches if safety regulations permit or false bulb torches.

Shades from “window” of palace with light in back to provide shadow. Used for the hanging and blinding scenes which would be too graphic for the main stage.

LIGHTING By Michael Soo

VISIBILITY

Make whoever is talking visible to the audience. (Oedipus, Priest, etc.)

Make sure the lighting is sufficient enough to see actions being performed on stage.

REVEAL SHAPES AND FORMS Use of shadows in order to create suspense or dramatic effect. Oedipus stabs out his eyes. Use shadows to show the action rather than an actual actor.

Use dark lighting and shadows to create an ominous and mysterious mood.

Use bright lights to make everything clear on stage.

CREATING FOCUS ONSTAGE AND VISUAL COMPOSITIONS Using spotlights to show the audience what is important.

Use different color lights as a form of symbolism. Red: anger, death, tragedy Blue: Peace, comedy, relief

Blue light Red light

MOOD AND STYLE Use of red light to signify anger, death, or tragedy. Oedipus threatens Tiresias when he does not give the information he wants to hear.

The scene when Oedipus stabs his eyes after seeing Jacosta hang herself.

Use of darker lighting during darker or ominous moods. Opening scene with the curse on Thebes.

Use spotlights during a monologue or speech of a single character.

Red light Darker lightingSpotlight

TIME AND PLACE

Use brighter lighting during the day and darker lighting at night.

In houses or buildings use red flickering light to symbolize flames.

Use flood lights to get the feel of night time vs morning or mid-day.

Flood lights Fake fire light

RHYTHM AND VISUAL MOVEMENT Follow the character with the spotlight as they move.

Don’t have any abrupt changes in the lighting that is distracting.

Provide a sense of clarity by showing who or what is important in each scene.

Use lighting appropriate for each scene. Make sure the lighting matches the mood.

COSTUME DESIGN By: Elise Steward

PERIOD

Oedipus the King is set in Ancient Greek times.

Clothing in this time period consisted of togas and tunics.

CLOTHING FOR MEN

Clothing for men consisted of a tunic (chiton or peplos), and a cloak (himation).

The peplos is a large heavy piece of fabric made of wool draped over the body and pinned at the shoulder with a brooch.

There are armholes on either sides of the garment and the open side is sown together.

The chiton is made out of line. It is a very long and very wide piece of rectangular fabric. Its sown up at the sides or at the shoulders, and girded around the waist.

MEN’S CLOTHING CONT’D The chiton is wide enough that sleeves could be fastened to it with pins or buttons.

Both peplos and chitons are floor length and are typically pulled over a belt, creating a pouch named a koplos.

Footwear: sandals, slippers, soft shoes, or boots.

WOMEN’S CLOTHING

Women similarly wore peplos and chitons.

Sometimes they wear a epiblema ( a type of shawl) over the peplos or chiton.

On rare occasions Greek women donned a flat-brimmed hat with a peaked crown.

Footwear: sandals, slippers, soft shoes, or boots.

WEALTHY GREEKS

Greeks of a wealthier class, like Oedipus, wore luxurious woven clothes, and decorative jewelry and also donned headpieces.

MAKEUP

Due to the violence acts in Oedipus the King, the makeup required would have to emulate the blood and gore.

DIRECTOR Jailyn MIr

OEDIPUS AND THE SPHINX

This is how I imagine the style of the confrontation between Oedipus and the Sphinx to look. Do not focus so much on the image itself, but the essence that communicates that Thebes needs a hero to bring them out of despair.

THE SPHINXThis image captures more of what I envisioned the Sphinx to look like. A goliath in size and menacing to look at. Ignore the person who is supposed to be Oedipus. I just wanted to capture the Sphinx’s evil and demonic essence.

AFTER OEDIPUS’ RESCUE

This is what I imagined the kingdom of Thebes to look like when Oedipus first became king. Ignore the futuristic elements and just focus on what looks like a kingdom that is fertile and full of happiness, riches, and splendor. All is at peace and no one, including the king, is thinking about or preparing for a dark day.

THE CURRENT SITUATION

This is what I imagine the kingdom to resemble in the present day of the play. Infrastructure is overgrown. The fields are dried up. The people are desolate and in despair. The dark day that no one saw or prepared for has come.

ALEX PETTYFER- YOUNG OEDIPUS

This is what I imagine Oedipus to look like at the beginning of his reign. Young, full of strength and confidence in his abilities. This is the fearless Oedipus that defeated the Sphinx and saved Thebes from her monstrous hold. This is Oedipus the Hero.

DANNY DYER- CREON

This is the face of the man that I imagined to have ben loyal to Oedipus. His face gives an air of sincerity that he is not pompous, but rather intelligent and invested in the success of the kingdom. He is smart in that he can see the beauty of his station and does not yearn for more.

DAVID RITCHIE- PRIEST

This is the face of the man I imagine to be concerned for his people. He has the confidence to speak to the king eloquently and directly, so he must have carried his title for a long while. He has good intentions, and genuinely wants the best for the people of Thebes.

CHRISTOPHER LEE- TEIRESIAS

I imagine the is the face of the oracle, but more emaciated and the eyes are clouded over from blindness. Imagine the alter ego of Jafar in Aladdin. Missing teeth, skin and bones, and a maniacal look in his eyes. This would be the burden of an oracle. Seeing what will happen takes the mystery out of life. Seeing the staunch reality without hope for a better outcome would make even the most optimistic of people cynical. The oracle is very old and with age has just gotten more bitter and fearless. He is not evil, just cynical and miserable.

RACHEL SHELLEY AS JOCASTA

I imagined the queen to be a beautiful woman that was not young, but that has aged very gracefully. She is brunette, like her brother Creon and very confident. She has a clear idea of what she wants and is not afraid to get it. She is smart, but not above human frailty. She has a genuine love for Oedipus, but cannot handle being in love with her son. Her suicide is not a sign of weakness, but simply of one’s brain snapping.

RON MACSTRI- MESSENGER

This is the face of an aged man, but that is still robust and can hold his own in a sword fight. He is refined from years of going to kingdoms and speaking with dignitaries, but he is also used to living off the land and so is not pretentious.

JEFF BRIDGES- SERVANT/ SHEPPARD

Face of a man that has seen much and has great wisdom. His heart is good and he enjoys the quiet life of being a sheppard. He tends to his flock and has lived simply for decades. He is still physically strong from life in such rugged conditions, but his spirit has remained un-calloused.

DIRECTORIAL CONCEPT

Oedipus the King is as much about fate as it is about free will. If King Laius had never banished his son, his son would have never been his murderer. If Oedipus had never left home, he would not have murdered his biological father, or married his biological mother. Oedipus and King Laius created their own destinies by trying to avoid the prophesies. Fear led them to make decisions that ultimately led to both of their demises. However, it should be noted that Oedipus’ fate was influenced by the decision Jocasta made to give him to the sheppard. This play tells us that no two lives are independent of each other. The audience should leave pondering whether they believe in fate or free will, as there can be an argument made for both within the play. Most of the play takes place outside on the palace steps, with the audience of the people of Thebes, as well as the audience viewing the play. The only event that happens offstage is Jocasta’s suicide. Most of the play has dialogue with all real action being imagined in the minds of the audience. The play is set in the time of Sophocles, so set design and costume choice should reflect this to the audience. Every design element should illustrate the situation the economy is in. Thebans should be dressed in tattered clothing and huddled together for warmth. There should be very true children, due to the high level of infant mortality. Not many people are over the of 30 or so, as living conditions are subpar. Even the royal attire should look worn from years of repeated use. I imagine the play to be at dusk, or sunset, with the lighting illuminated by torches.