Grad project_DD Chan

THE HONG KONG ACADEMY FOR PERFORMING ART

GRADUATION PROJECT

2015 - 16

DD Chan Sze Nga

BFA 4 - Set & Costume Design

A21664

Drama1

The Wilderness《原野》

Set Associate Designer

2

CONTENTS

1. INTRODUCTION

1.1 Outline of Project P.4

1.2 Set Associate Designer role and duty P.5

2. SYNOPSIS P.6

3. PLAYWRIGHT RESEARCH

3.1 Playwright background P.7

3.2 List of Plays and other works P.7

4. SCRIPT ANALYSIS

4.1 Analyzing the needs of the play 4.1.1 Information from the Script

4.1.2 Scene breakdown chart

P.8

P.9-15

4.2 Physical Limitations P.16

4.3 Artistic Choice of Director P.16-17

5. DESIGN PROCESS

5.1 Design concept and idea 5.1.1 Overall inspiration

5.1.2 Overall mood

5.1.3 About the forest

5.1.4 About shadow effect

5.1.5 About Daxing’s house

5.1.6 About train and train track

5.1.7 About filmic elements

P.18-19

P.20

P.21-24

P.25-26

P.27-29

P.30-31

P.32

5.2 Design Development 5.2.1 First discussion with Designer

5.2.2 Sketch and Inspiration

5.2.3 First meeting with Director

5.2.4 First Development of Concept

5.2.5 Sketch model

5.2.6 Second meeting with Director

5.2.7 Development of design

5.2.8 Modification of Design

P.33

P.34-35

P.36

P.37

P.38

P.39

P.40-49

P.50-52

5.3 Final Design 5.3.1 Details of Final Design P.53-58

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5.4 Design Realization

5.4.1 Scenic and lighting test on wall

5.4.2 Tree texture and swing mechanism

5.4.3 The shadow effect

5.4.4 Modification of gauze design

5.4.5 Modification of train track

5.4.6 Modification of rock

P.59-60

P.61

P.62

P.63

P.64

P.65

6. ADJUSTMENT AFTER MOVE-IN P.66-68

7. SHOW PHOTOS P.69-80

8. CONCLUSIONS AND REFECTION P.81-82

9. BIBLIOGRAPHY P.83

10. APPENDICE AutoCAD Drawing

Furniture List

Props list

P.84-99

P.100-101

P.102-105

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1. NTRODUCTION

1.1 Outline of Project

I am writing this report about the graduation project on Drama 1, The Wilderness. This is

a drama production, which was held in the Drama Theatre from 18th-21st November 2015.

The play has realistic themes. However, because the director has directed this play before, his

intention for this performance was to create a less realistic style by incorporating filmic

elements into the staging in the drama theatre. I was the Set Associate Designer in this

production. Details of duty will be shown in P.5. I will focus on design concept and process in

P.18-P.68. And I will show the production photos and conclusion in P.69-80.

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1.2 SET ASSOCIATE DESIGN ROLE

The role of the Associate Designer can be defined as someone:

“Engaged to manage the realization of the design when the designer is unavailable to do this, and may have an intimate knowledge of all design aspects of the production. It is a position requiring a high level of design understanding with considerable responsibility, and accordingly an associate designer is likely to have at least 5 years’ pro- fissional design experience”.1

In the beginning of ‘The Wilderness’, the Set Designer (Jonathan Wong) and I discussed

how we would work together. We decided that I would handle most of the design process,

because it was my graduation production. These were the areas I was responsible for:

• Research for Playwright’s background, story period & characteristic

• Script analysis, create scene breakdown

• Create theme, concept and idea

• Meeting and work with Director, Movement Coach and other departments

• Design scene change

• Set Design for every scene

• Sketches and 1:25 model making

• AutoCAD drawings, update and correction

• Budget consideration

• Decide material and color

• Furniture design and searching

• Props design and searching

• Observation of and following set building process

• Problem solving of technical issues

• Joining all rehearsal, run-through

Besides the above responsibilities, I also kept in touch with the Designer to keep him

updated about the process and discuss the setting. The final version of set drawings were

approved and sent out by the Designer.

1 THE APDG DESIGNERS FOR LIVE PERFORMANCE PHILOSOPHY AND PRACTICE GUIDELINES. http://www.apdg.org.au/wp-content/uploads/2015/02/APDG_PP_GUIDELINES_FINAL.pdf The Australian Production Design Guild Guidelines (2007)

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2. SYNOPSIS

The story starts in the early Republic of China. There is wilderness, a train track and

nearby there is a lake in the forest. And there is only one house far away from the wilderness.

This is a quiet world.

Chou Hu is an inmate. He jumps from the train and escapes to the forest for revenge.

Local tyrant Jiao Yanwang has robbed his family members have been savagely murdered and

farmland. Also Chou Hu has been locked up in prison for eight years! Then Chou Hu found

out the tyrant has been dead for two years and his fiancée Jin Zi has forced to marry to

tyrant’s son Daxing! Chou Hu is really angry. Daxing and his wife Jin Zi appear. He needs to

go away and work for some time. After Daxing has left, Chou Hu appears and asks Jin Zi to

leave with him, Jin Zi takes Chou Hu home. And they later have an affair in Daxing’s home.

Daxing’s mother suspects someone is having an affair with Jin Zi, therefore send

ChangWu to check on her. ChangWu accidently told Jin Zi, Daxing is heading back. After

that, they plan to kill Daxing then go away and take the train to their paradise. When Daxing

arrives home, Daxing’s Mother forces Jin Zi to tell them who she is having an affair with,

Chou Hu appears.

Chou Hu and Daxing reunited and are drinking together. Chou Hu thought of a story to

let Daxing know he is having an affair with Jin Zi and he is coming back for revenge. Daxing

feels angry and sad, he wants to kill Jin Zi but he could not do it. Chou Hu then uses a knife to

kill him while Daxing sleeping. Then they escape to forest.

After that, Daxing mother wants to kill Chou Hu but she has accidently killed her

grandson. She found her son also already dead, therefore she feels extremely sad and run to

the forest. The police go to the forest to hunt Chou Hu and Jin Zi in the same time.

At midnight, Daxing’s mother carries the dead baby and takes the red lantern to go after

them. And the police keep hunting them. Chou Hu and Jin Zi want to go through the forest to

arrive to the train track and take a train, but they get lost. Chou Hu has hallucination because

he feels guilty. They feel tired and Jin Zi hears train sound. Then they return to the lake and

see the fetter. Chou Hu picks up the fetter and remind Jin Zi give birth to their baby. Saying

he would rather die than be caught again. Then he run to the train track suicide by train hit. At

the end of story, Jin Zi sits in the train and the train heading for distant paradise.

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3. PLAYWRIGHT RESEARCH

3.1 Background of the playwright

Cao Yu (original name Wan Jiabao, 1910-1996) was a

renowned Chinese playwright. He was born into an upper-class

family. During his childhood, the governess taught classical

literature to him at home.2 He follows his stepmother to watch

different Chinese traditional opera such as Peking opera, Kunqu

etc., also include western style plays, which was famous in that

period. He built up his knowledge of the theatre in his childhood.

During 1920s-1930s, he educated at Nankai University in Tianjin

and Qinghua University in Beijing, where he studied

contemporary Chinese literature and Western drama. And he focus on studying from Ancient

Greek Tragedy to Shakespeare, Chekhov, Ibsen and O'Neill. Through his studies of his last

year at the university, Cao Yu completed his first work, Thunderstorm (1934) and Sunrise

(1936) and The Wilderness (1937).3 He was foremost pioneer of modern drama (“word

drama”) in China, which genre influenced by Western theatre rather than traditional Chinese

drama (which is usually sung) in the 20th century. His most well known works are

Thunderstorm (1933), Sunrise (1936) and Peking Man (1940).4

3.2 List of Plays and other works • Thunderstorm (雷雨 Leiyu), 1934.

• Sunrise (日出 Richu), 1936.

• The Wilderness (原野 Yuanye), 1937.

• The Metamorphosis (蛻變 / 蜕变 Tuibian), 1940.

• Peking Man (北京人 Beijing ren), 1940.

• The Bridge (橋 / 桥 Qiao), 1945.

• Bright Skies (明朗的天 Minlang de tian), 1956.

• Courage and the Sword (膽劍篇 / 胆剑篇 Dan jian pian), 1961.

• Wang Zhaojun (王昭君), 1979.5

2 The Editors of Encyclopædia Britannica (2016) Cao Yu Chinese author; http://global.britannica.com/biography/Cao-Yu: Encyclopædia Britannica, Inc. 3 vivina (2010) 曹禺; http://www.zwbk.org/MyLemmaShow.aspx?zh=zh-tw&lid=92991: 中文百科在线 4 An Introduction to Cao Yu; http://www.wreac.org/chinese/events/past/cao-yu-centenary-in-britain/an-introduction-to-cao-yu: The White Rose East Asia Centre (WREAC) 5 From Wikipedia, the free encyclopedia Cao Yu; https://en.wikipedia.org/wiki/Cao_Yu: Wikimedia Foundation, Inc

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4. SCRIPT ANALYSIS

4.1 Analyzing the needs of the play

4.1.1 Information from the Script

The play is divided into 4 Acts (include prologue). Prologue is set on the train track and

the forest. Act 1 and Act 2 are located at Daxing's house after ten days. Act 3, same night in

the forest and go back to train track in the end.

The characters are moving around in the forest, so the location changes is required to be

hown. They arrive in different part of the forest, such as a lake, a temple, a ruin and a swamp.

There are many tall trees with branches and leaves blocking the sky. It is misty everywhere

therefore atmosphere of danger prevails. In Act 3 the forest gives an unreal feeling to present

character's hallucination and memories.

About Daxing’s house, the script describes it as having a living room, two windows near

the main door and two bedrooms. The outside of the house has a fence and nearby there is a

train track. Inside the living room, there is a painting of the tyrant and a Chinese saber

hanging nearby, a small shrine for Buddha and in front of it is a red mat, a square table with a

few chairs, a bench and a cradle with baby. Also there could be a textile machine. An old

cabinet and some props are hanging on the wall.

The story happens mainly in the living room. The noise from the bedroom can be heard in the

living room. Sometimes the wall reflects or shows character's memory and dream.

Besides, there is a train track located in the nearby forest. It is used during the prologue,

when Chou Hu jumps out of the train. Also in the end of the story, Jin Zi takes the train to

escape.

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4.1.2 Scene breakdown chart

Page Act Scene 事件描述人物

2 序

幕

1 ***秋天黃昏***

-‐ 仇出場（1）＠跳火車à水塘倒影見金子

仇虎

金子（可能不見樣）

1-‐2

2

-‐ 仇遇見白＠軌道à要俾鐵鏈白

-‐ 白介紹自己是”白傻子”原因

仇虎

白傻子

2-‐3 3 -‐ 白講焦大媽（盲婆）＆焦閰王（兩年前死左）&焦大星（有蘇

蝦＋娶新老婆：金子）

-‐ 仇講焦家點害佢全家：

搶田

燒屋

告仇係土匪＋搵人打跛佢隻腳à監獄捱 8 年

＊仇回來目的「殺⼈人填命,以牙還牙,以眼還眼」

仇虎

白傻子

3-‐4 4 -‐ 大星＆金子出場（1）＠軌道；仇＆白退場

-‐ 大星＆金子外表＋性格介紹

焦大星

金子

4-‐7 5 -‐ 金子發脾氣：睇唔起大星=裙腳仔只聽呀媽話 only ＋做人後母

（孩子不是她）à大星 tum 佢

焦大星

金子

7-‐8 6 -‐ 焦媽出場（1）＠軌道遠少少位置

-‐ 焦媽提醒大星小心金子

＊大星孝順「媽,呢幾⽇日天氣凍,你要好好保重身體,著多件衫,就是⽕火⽕火

⾞車,少啲⾏行上路軌呢度」

-‐ 大星出城工作退場

焦大星

金子

焦大媽

8-‐9 7 -‐ 白出場（2）＠軌道

-‐ 焦媽同白去搵跛腳佬à退場；金子 keep

金子

焦大媽

白傻子

9-‐12 8 -‐ 仇出場（2）＠爬上軌道

-‐ 金子＠巨樹休息 à天黑了，走上軌道

-‐ 仇見金子＋掉鐵鏈到水塘

à 2 人退場回金子家（閰家）

仇虎

金子

10

～幕急落～

13 1 9 ***10 天後的傍晚***

-‐ 仇出場（3）＠大星家

-‐ 介紹大星家附近景色：

「天⾊色不早,地上拖著陽光慘⿈黃⿈黃的影⼦子。︒窗簾拉起來,屋內不⾒見⼈人,暮風吹

著遠處的電線桿,激出嗚嗚聲⾳音。︒有烏鴉在天空盤旋,不斷地呼嘯,風聲略

息,聽得⾒見⿃鳥翅翼在空氣裡振激。︒漸漸風息,⼀一線陽光也隱匿下去,外⾯面升起

秋天的霧,草原上灰沉沉的。︒厚霧裡不知隱藏著些什麼,暗寂無聲。︒偶爾有

⼀一⼆二隻烏鴉在天空⾶飛⾶飛鳴,濃霧漫沒了昏⿊黑⿊黑的原野」

-‐ ⼤大星家格局＋傢私：

「⼀一間正房,兩廂都有⼀一扇⾨門⾨門,正中的⾨門通著外⾯面,開⾨門看⾒見近的是籬牆,

遠的是草原、︑低雲和鐵道附近的⿊黑煙。︒中⾨門兩旁各⽴立⼀一窗,窗向外開,可以

望⾒見⾒見遠處的天⾊色⾊色和巨樹,正中右窗上掛著⼀一幀巨闊、︑油漬的焦閻王半

身像,穿著連長的武裝。︒旁邊掛著⼀一把軍⼑刀。︒左⾨門旁⽴立⼀一張⿊黑神枱,上⾯面供

著三⾸首六臂⾦金眼的菩薩。︒旁邊是焦氏祖先牌位。︒桌前有⽊木⿂魚,有烏⿊黑的⾹香

爐,蠟台和紅拜墊,有⼀一座巨⼤大的銅磐,下⾯面墊起褪⾊色的紅棉托。︒現在⾹香爐

裡燃著將盡的⾹香,菩薩照得油油亮亮。︒蠟燭滅了,剩下⼀一段殘骸,只有像前的

神燈放出微弱的⼈人焰。︒左牆⽴立⼀一隻暗紅的舊式⽴立櫃,櫃頂幾乎觸到天花板,

上下共兩層,每層鑲著巨⼤大的圓銅⽚片⽚片,上⾯面有⽼老舊的⿈黃鎖。︒⾨門上貼著殘破

的鍾旭捉妖圖。︒右窗前有⼀一架紡線機,左⾯面是搖籃,裡⾯面的蘇蝦已經睡著。︒

暗⿊黑的牆上掛著些零星物事。︒在後⽴立⼀一張⽅方桌,圍著幾張椅⼦子和長凳」

- 仇唱歌

仇虎

13-‐15 10 -‐ 金子出場（2）＠大星家房

-‐ 仇與金子的耍花槍（搞完後）

-‐ 仇送花俾金子

仇虎

金子

15-‐17 11 -‐ 常五在門外大叫大星嫂（焦媽派佢睇住金子）

-‐ 金子準備物品應付常五：

「⼩小⿊黑對鞋......錫紙,⽵竹籮......溪錢......擺好張櫈」

-‐ 仇入房退場

仇虎

金子

常五（聲 only）

17-‐21 12 -‐ 常五出場（1）＠大星家

-‐ 介紹常五

金子

常五

11

-‐ 金子係常五面前掩飾仇在家＋套常五攞料：

焦媽的小動作

偵察隊搵緊仇

大星快回家

-‐ 常五退場

21-‐22 13 -‐ 仇出場（4）＠大星家

-‐ 金子勸仇快走離開

仇虎

金子

22-‐26 14 -‐ 焦媽出場（2）＠大星家

-‐ 焦媽察覺屋內有人à 金子作理由掩飾 e.g. 借小黑過橋(P.22)；

夢見大星(P.23)

-‐ 催殘金子的花（腳踏）＋借發夢見閰王想套料問仇係邊(P.25)

-‐ 問金子生辰 8 字要咒佢（用木人）

-‐ 金子退場＆仇躲在房

仇虎

金子

焦大媽

26-‐28 15 -‐ 白出場（3）＠大星家

-‐ 白與焦媽入房搵男人＋金子阻止不果à（入左房）焦媽被推

倒；仇破窗逃走

*房可能只聽到聲見唔到人

白傻子

焦大媽

金子

28-‐30 16 -‐ 仇出場（5）＠大星家外跑入中門

-‐ 白見到仇樣子

-‐ 焦媽回廳問白仇去邊à金子誘惑白要佢閉口 à焦媽問白不

果，退場入房哄小黑

仇虎

白傻子

焦大媽

金子

30-‐32 17 -‐ 大星出場（2）＠大星家中門

-‐ 大星問金子近況，金子（身有屎）發脾氣

-‐ 金子打走白怕佢爆仇在à白哭退場

金子

白傻子

焦大星

32-‐33 18 -‐ 焦媽出場（3）＠房出

-‐ 焦媽想搵白向大星告狀金子收埋男人，但白已走à焦媽（中門）

退場搵白

-‐ 金子借題發暣氣（入房）退場

焦大媽

金子

焦大星

33-‐34 19 -‐ 焦媽出場（4）＠中門出

-‐ 焦媽告誡大星小心金子(P.33)＋告狀金子收埋男人呢件事à慫

恿大星迫金子從實招來

焦大媽

焦大星

34-‐35 20 -‐ 金子出場（3）＠大星家房

-‐ 焦媽要大星拿皮鞭打金子à金子盡吐心中對閰家一直以來的怨

恨和感受(P.34)

焦大媽

焦大星

金子

12

「我嫁入你哋家⾨門,我就無諗過會過得好。︒你阿爹押我嚟呢度做新抱,你阿

媽由我⼀一入⼜⼝口就憎我、︑鬧我、︑侮辱我、︑無當過我係⼈人!⼤大星,你係⼀一個無⽤用

嘅好⼈人。︒但係為咗你呢個阿媽,我死都唔同你呢啲咁樣嘅好⼈人過⼀一世,就算

你對我幾好遲早我都要同你分開。︒。︒。︒⼀一講到你阿媽,世界上無⼀一個女⼈人

陰毒得過佢」

「我⼀一啲都唔鍾意你,你正⼀一無膽鬼,裙腳仔,剩係識得比你阿媽錫。︒你唔配

有我⾦金⼦子咁樣嘅⽼老婆」

à大星始終打唔落手à焦媽拎起拐杖準備打金子

35 21 -‐ 仇出場（6）＠大星家中門（戲劇性）

-‐ 焦媽 v.s. 仇 start!

～幕急落～

焦大媽

焦大星

金子

仇虎

36-‐38 2 22 ***同日的夜晚 9 點***

-‐ 焦媽出場（5）＆大星出場（3）＠大星家

-‐ 焦媽同大星傾送走仇一事(P.38)＋仇在房唱歌咒閻王

焦大媽

焦大星

仇虎（聲 only）

38-‐39 23 -‐ 大星想知道金子勾佬係邊個，向焦媽訴苦à頂唔順跑出屋退

場＋焦媽追退場

焦大媽

焦大星

39-‐42 24 -‐ 金子出場（4）＠大星家à搵仇

-‐ 焦媽出場（6）＠大星家中門

-‐ 焦媽知道金子同仇有路，使出軟手段à提議送走兩人+搵仇傾

金子

焦大媽

42-‐47 25 -‐ 仇出場（7）＠大星家房

-‐ 金子入房退場

-‐ 仇＆焦媽坐低傾計（表面）à焦媽發功勸仇唔好絕焦家後，兩

人語中帶刺，表裡不一的對話

仇「契媽你長命百歲,就算全部⼈人死晒,你都要長命百歲」(P.45)

「我講過,向你報恩呀」(P.46)

焦媽「好孝順!我真係幾⽣生修到」(P.46)

-‐ 從對話中知道仇更多悲慘過去 details：

父被撕票生葬

妹（15 歲）被賣走再被折磨死

焦大媽

仇虎

47-‐48 26 -‐ 金子出場（5）＠大星家房

-‐ 焦媽提議幫仇討個老婆，而且準許仇可以帶金子離開

-‐ 焦媽（入房）退場

焦大媽

仇虎

金子

13

48-‐51 27 -‐ 仇提議今晚半夜走，但走前要殺死大星為父＆妹報仇，金子有

點猶豫，希望離開就算（可憐大星）

仇虎

金子

51-‐52 28 -‐ 大星出場（3）＠大星家中門

-‐ 大星見到大哥（仇）想飲酒傾下

-‐ 金子（入右門）退場

仇虎

金子

大星

52-‐54 29 -‐ 大星希望仇幫手搵出金子勾佬果個人，表示自己已經長大，唔

再係“裙腳仔”(P.53) 要殺死果個男人

-‐ 仇從大星口中知道白一陣會到大星家幫手搵自己！à仇借

笑話（故事）講出佢同大星之間發生的種種事同經歷，希望令大

星明白佢點解要報復＋搶佢老婆金子

仇虎

大星

54-‐55 30 -‐ 仇講故事開始到尾à最後再同大星講故事既主角係佢地自己：

仇「我同你講,我就係嗰個⼤大佬,⽽而你就係......」(P.55)

仇虎

大星

55-‐60 31 -‐ 金子跑出場（6）＠大星家房出à想阻止仇再講落去

-‐ 白出場（4）＠大星家中門à向左屋跑搵焦大媽，而且認出仇，

大星心碎＋絕望à 白（左屋下）退場再出場（7）à最後仇拉住

白（中門）退場搵焦媽

-‐ 大星同金子對質，被金子挑釁用刀刺傷金子手背(P.57)à但都無

勇氣殺金子，哀求金子繼續留係自己身邊à金子唔願意要跟仇

離開：

金子「我條命就係咁,天⽣生天養,喺原野成長,將來或者都係死喺原野嗰度」

(P.59)

- 最後大星表示偵察隊會到，而且如果金子佢地要走只有殺左佢

呢個辦法

金子

仇虎

大星

白傻子

60-‐61 32 -‐ 焦媽出場（7）＠大星家房出

-‐ 仇出場（6）＠大星家房出（戲劇性）

-‐ 白出場（5）＠大星家中門講常五搵焦媽，仇察覺有古怪

-‐ 最後小黑哭à金子＆大星（入右房）退場＋仇（入左房）退場，

剩下焦媽＆白

金子

仇虎

大星

白傻子

焦大媽

61-‐62 33 ***同日的夜半（過左 1 小時）**

-‐ 常五出場（2）＠大星家中門（偷偷地）

-‐ 焦媽在中房搭了木板床陪＋安撫小黑

-‐ 常五表示偵察隊來緊＋焦媽根本希望仇死去了結成件事à常

五＆焦媽（中門）退場

常五

焦大媽

62-‐64 34 -‐ 金子出場（7）＠大星家（準備同仇離開）金子

14

-‐ 仇出場（7）＠大星家右房出à同金子講要動手殺大星＋指示

金子抱小黑入左房à金子抱小黑入左房下再上

-‐ 仇入左房殺死了大星à兩人躲在窗下

仇虎

64-‐65 35 -‐ 焦媽出場（8）＠大星家中門à向左門走＋鎖右門

-‐ 焦媽用鐵杖殺死自己孫兒（不知情）à發現後悲傷想搵仇報復

*焦家正式絕後！

-‐ 仇＆金子由大門離開à 一會後有槍聲響

～幕漸落～

金子

仇虎

焦大媽

66-‐67 36 ***同日的半夜 1 點後***

-‐ 形容半夜的森林：

「樹林內岔路⼜⼝口,森林⿊黑⿊黑幽幽,望⾒見灰濛濛的細霧⾃自野地升起,罩住原始

森林。︒在中間深邃的林叢中隱匿著烏⿊黑的沼池, 在林間透出⽚片粼的⽔水光。︒

森林充蓄原始的⽣生命,巨⼤大的枝葉向天沖遮斷天上的星辰。︒由池沼裡反射

的⽔水光隱約看出眼前是多少年前磨場的廢墟,⽣生滿半個⼈人⾼高的⽩白蒿, 笨重

的盆磨、︑野草間突起⼟土堆和下⾯面或是昔⽇日廣場主⼈人⼈人的⽩白骨。︒無數的矮

⽽而⽽而胖的灌樹在草⾥里伺藏著,風來時滾來滾去。︒右⾯面樹根下埋著⼜⼝口死井,填

滿⽯石塊。︒並畔爬密了蔓草,奇形怪狀的僅枝在灰霧裡掩藏。︒⽩白楊樹伸出巨

⼤大的樹葉,舉頭望不⾒見天。︒風吹來時,滿天響起肅殺的聲⾳音,於樹葉的隙縫間

滲下天光,樹幹上的⽪皮發亮閃現。︒右⾯面引進來⼀一條荒蕪的草徑,直通左⾯面,

中間有⼀一條較寬的廢路。︒在舞台的前⾯面,下邊⽴立起參差不齊的怪⽯石屏擋著,

上邊吊下來猙獰的權枝」

-‐ 金子出場（8）＠森林

-‐ 仇出場（8）＠森林

- 金子＆仇在森林中逃走（避開偵察隊+去火車站à去鋪滿黃金

既地方）à發現紅燈籠（白＆焦媽）à躲到樹後

金子

仇虎

67-‐70 37 -‐ 白出場（6）＠森林

-‐ 焦媽出場（9）＠森林

-‐ 白＆焦媽入森林搵仇

-‐ 金子＆仇在森林中逃到廟宇附近＋仇出現幻覺 start!!!!（死去

的所有人）

金子

仇虎

焦大媽

白傻子

70-‐71 38 -‐ 之後到金子出現幻聽（火車聲）à兩人逃到水塘喝水

- 快天亮了（可能也是金子幻覺）

金子

仇虎

15

71-‐72 39 -‐ 金子發現＜序幕＞仇掉走的鐵鐐

-‐ 仇拎起鐵鐐＋用自身擋追兵à希望金子能與肚中的孩子逃走

活下去：

「記住,⾦金⼦子! ⽣生佢出嚟,話佢知,佢阿爹冇比呢班⼈人捉倒。︒話比班兄弟聽仇

虎唔肯〔舉起鐵鐐〕戴住佢,佢寧願咁樣...死! 」

- 最後仇死＋遠方見到金子在飛馳的火車上

～完～

金子

仇虎

16

4.2Physical Limitations

Renovations were being made during the time of this production. Therefore, we did not

have enough space to place a big set piece. So I needed to avoid designing a set that would

occupy a lot of space. The shape and form of set needed to be simple. It should split into

different smaller pieces. Also the Scenic department could only supports a simple paint color

tone, such as monotone and black and white, which did not require too much time to mix.

4.3Artistic Choice of Director

About incorporating filmic elements into the play. The Director had directed this play

before. So he wanted to create less realistic style of the set. During some special moments, he

would try to use shadow effects combined with body movement. For example, Chou Hu's

memory and his hallucination, the location changed within the forest, train outline in Act 3.

Shadow effect combine body movement Performers also used other props such as cardboard to help them create a car or a structure.

Shadow effect combine with body movement Performers though their body movement to build up different shape and form to outline of set or an object.

17

He wanted to add Chou Hu's sister who vaguely appears in his memory. Also the

Director wanted to use the filmic elements to present some important moments. In order to

create an impressive opening, the Director wanted Chou Hu jumped off the train and the train

itself appear in the prologue. Below are some images that I found which I think represent the

effects he potentially wanted for this scene.

Besides, the Director wanted to use multimedia such as projection on gauze. The

projection would present Chou Hu’s memories and associations when he looked at the water

reflection in prologue.

(i) The train comes from a distant in the beginning of story.

(ii) The train light becomes a long line from stage left to stage right when the train running.

(iii) Then Chou Hu jumps from the train (with smoke effect).

18

5. DESIGN PROCESS

5.1. Design concept and idea

5.1.1 Overall inspiration

Reference photos for me to make the overall inspiration for the play:

About the Wilderness concept, I think the character Chou Hu is like a tornado. He comes very

suddenly. From his coming to killing Daxing, and dying in the end of story. These things

happen in a very short period, just like the weather turning into a tornado until it dissipates.

This process is very short and sudden.

Moreover, it has a strong power to destroy everything such as when he kills Daxing.

When people come in contact with Chou Hu, he tends to hurt them unconsciously. An

example of this is the death of Daxing's baby because he does not intend to kill the baby but

indirectly makes Daxing’s mother kill the child.

19

This part of the image makes me think there is a forest. The forest has an original pattern.

When Chou Hu is coming, he's just like a tornado, destroying the original quiet forest pattern.

Also the image looks like the trees swing to different sides. It represents Chao Hu destroys

everything and the forest becoming messy.

The red line resembles a train behind the forest. It is moving very fast. Also the red

color inspires me to use the lighting to present the fast speed of train.

The other broken lines of image make me feel there are broken train tracks that represent

no hope. And this inspires me to design contrast between a broken train track and complete

train track, which represent "hope to future". It makes a contrast with hope and no hope.

Besides, the image looks like Daxing’s house in front of the forest. I think the house

should merge with the forest. And the image looks like there is mist around the environment.

20

5.1.2 Overall mood

About the mood of the story, it is located in the north of China. And it is far from

the sea. So there is dry and desolate weather during all four seasons. The script indicates it is

autumn, highlighting a more lonely and desolated feeling of the play.

Because I was an art festival volunteer in 2015 summer, I got many ideas and

images for the set design from Japan. In Japan, I was visiting the countryside, which was a

huge plain and forests. When I was reading the script, the mood of where I was staying

matched the script. An example was this photo below that caught the sunset moment with a

beautiful warm color in the sky. The place was wide, had very few people and was quite. I felt

this sunset brought out lonely and sad feelings, just like as if I was locked in this wilderness

and time had stopped in this moment. The colorful sky contrasted with the monotone of the

surrounding. The trees were faded in the photo, which inspired me to design monotone color

for the forest.

The color tone of sunset with vast sky gave me the feel this was match for the script

21

5.1.3 About the forest From the script I got that forest was mainly composed of poplar trees (白楊樹)6.

And the script included many symbolic icons such as poplar. The poplar tree symbolized

Northern Chinese farmers and represent they never give up to survive. Also I found this

meaning from a Chinese writer an essay Praise of White Poplar7 in 1941 to praise poplar.

Also during my research, I found out the poplar tree has a number of mythological

meanings. It made its appearance in the script not accidental. Such as in Greek mythology, the

poplar tree grew beside the gates of the underworld. I Celtic mythology, this tree was a

symbol of transformation and vision. Therefore, the forest is a special place in the script also

the play. It means the forest transforms to be a dark underworld, to tortures people with

different horrible vision. So I put this important key element to my design.

6 黛珂(2010) 白楊樹; http://www.zwbk.org/MyLemmaShow.aspx?zh=zh-tw&lid=89752:中文百科在线 7 茅盾(1941) 白楊禮讚; http://www.skhsbs.edu.hk/chi/ref/Artical/80.htm

The poplar height is 15m to 30m. It is white to gray color tree bark, which have rough base skin. It is a very common tree and strong viability in China. Poplar is very useful that can used for firewood, furniture, house beams, and farm tools.

22

About the forest pattern, I wanted to present a forest that felt like a prison. I got the inspiration

from photos of Japanese forests. Based on the photo, I designed the forest pattern have a tidy

layout. It presented the idea that people were trapped in this still and stagnant place.

This reference inspired me to design

the tree swing effect. I designed the trees

swing from left to right in Act 3. The function

was not only to present a change in location,

but also to represent Chou Hu's inner

psychological turmoil. When the trees swing

became bigger and bigger, it presented Chou

Hu's mind became more confusion and afraid.

23

From reference, the poplar tree was a very high and straight tree. It inspired me to

enlarge the tree scale to shows the gigantic and powerful forces of the forest. Also it

highlighted that people were tiny and fearful of getting lost in forest. I did not design the

leaves because I wanted to emphasize a desolate feeling.

Also the story happened in autumn during sunset to sunrise. In the sunset the forest's

color was fading to dark. So I would like to use black and grey tone color to represent this

dark and cold feeling of the forest. This also worked together with the physical limitation

about the renovation in paintshop during the production period.

24

Moreover, I would like to present many layers with deep perspective of forest. Here

is the reference of Chinese landscape photo taken by Michael Kenna:

It shows different shades of monotonous color with many layers from far to close. The color

tone looks like made by Chinese ink. It is blurred and little mysterious in view. This image

inspired me to use different layers of gauze with painted tree shapes and actual trees installed

on stage. Combined with mist, it created multiplicity of layers and a deeper perspective of

blurred forest in the night.

Also the forest increased the atmosphere of mystery that made the character unaware of

direction, and increases reality in the shadow effect illusion.

HUANGSHAN MOUNTAINS, STUDY 42, ANHUI, CHINA,

2010 BY MICHEAL KENNA

Over lap the trees shape painting by layers and combine with real tree structure. It makes more gradation of visual.

25

5.1.4 About shadow effect

Shadows effect is an important element in the play since this time I would like to

design a less realistic set. Using shadow effect is good way to make the real and illusion

become blurry. Especially when Chou Hu has hallucinations. Also it can function as an

indicator of location change in the forest when silhouette effect combines with body

movement. For example it can outline the object shape such as train and Buddha, to replace

the real building. This method is cost effective because the building of real set pieces is

unrequired. There are some scenes during which I wanted to use the silhouette effect, such as

a obscure night forest; train shape and police’s hunting Chou Hu; Chou Hu’s hallucination

when they escape in the forest.

I have gotten the inspiration

from a number of installation

artworks in Japan. There were

some artworks about the

relationship between lighting

and shadow. It functioned as a

good reference to show how

using a few objects with

lighting can produce meanings.

The shadows extend the object

size to fill up the space. So I

referred to this effect during

my shadow effect design,

especially as creating big

police shadows. It creates the

illusion that the policemen are

more close to them and look

more horrible. Also intensifies

Chou Hu fear.

26

It is because I would like

to create many trees in forest.

Using shadow effect to

combine lighting makes the

trees looks more abundant

that I did not need to bring as

many physical trees onstage.

Moreover, this artwork

uses shadow and real object to

create a space between real

and non-real. It inspired me to

put this effect into the forest,

which can make characters

feel scared when they get lost.

And it gives the feeling of

running in a maze of trees that

they cannot escape.

Besides, the shadow changes and gives strange shape, or is even deformed by lighting, it

make the richer visual and emotional feeling, which could be used during the police hunting

Chou Hu in the forest.

The lighting makes this furniture become a strange shape and create a scary feeling.

27

5.1.5 About Daxing’s house

Because my forest has the illusion of a jail, the house is also trapped in the forest. So

I designed a wide flat to represent house wall. It spreads across the stage right to stage left.

And there is only one main door linking to the forest. So it represents they are still trapped in

the forest even if they go out from home. They have no other choice.

Besides, I would like to

design the set less realistic. I just use

one flat to present the living room

rather than designing a full house

setting. It is because the story

happens mainly in the living room. I

would like to focus on the viewpoint

in the living room. And I designed

the house without ceiling and the wall

being not very tall. Audience still can

see a part of tree trunk between the

house wall and the border. Also

simply flying flat can make the scene

change faster. And the house does not

disturb the forest pattern.

I wanted to create a fantasy moment when characters talking about their dream

behind the wall. It is blurry and cannot be defined if it is real or not. And I wanted to create a

mysterious feeling, when the characters have a secret talk. Therefore, I used the shadow play

to present these moments. And I find this reference that inspired me to design a wall material

that is see-through. Such as use I use ‘Twinwall’ for Daxing's house wall.

Zhaigang Village (翟岗村) in Hubei Province This village house still keeps the late Qin architecture style. It is a good reference for me to know Daxing’s house shape is what. Although I design the set is less realistic.

28

I wanted to merge the forest and the wall of the house together and did not want the

house wall to disrupt forest’s original pattern. I want to present that the house is a part of the

forest. I designed tree trunk shape behind the wall that support the structure. And there are

different sizes of tree shape that can hide the original wall structure.

Besides, when combined with lighting, the wall becomes a screen. It shows the trees trunk

shapes structure and the forest's trees. Also it makes the house a part of forest. But the other

time is the normal house wall that cannot see-through.

Inside of the house, I imagine Daxing’s house is big but a bit old. It is because his

family gets poor after his father dies and there is no money to decorate it. That’s why Daxing

need to go far away to work and earn money. He needs to support whole family. So I found

countryside house references that let me know more house details and textures and also

inspired me to create desolated feeling for the house.

This old house and texture can be reference me to design Daxing’s house.

Zhaigang Village (翟岗村) in Hubei Province There are some beams and columns to support the house inside structure.

29

There are only few pieces of furniture in the living room. It is because I did not want

the furniture to block the shadow play on wall. Also according to the Director’s request, there

are only a few furniture pieces required. Such as a square table with a few chairs; a bench and

a cradle. Besides, I cut the small shrine for Buddha and just put the a red mat on the down

stage. Characters will face the audience while worshipping.

I would like to unify the mood through out the whole story. Since the story happens

during sunset to sunrise. In sunset the surrounding color is fades to become dark. And the

elements representing the dark color are the forest, Daxing’s house and train track. Therefore,

I would like to use monotone color such as black and grey. It present the surrounding is faded

after sunset. Also there is the physical limitation about the renovation in paintshop during the

production period. The scenic department only can supports a simple color tone. Therefore, it

is good to use less color. It does not require too much time to mix.

It shows the main living room furniture and the setting.

30

5.1.6 About train and train track

I interpreted the “Countryside” as

a simple, isolated and original life; and

the “City” represented civilization and a

change. The train track is the only

connection of the countryside and the

city. So the train track represents Chinese

people’s “Hope for future” between

original and modern in that period. Many

Chinese people believe they have chance to break out from their poor life through connection

of the rural location to the city. So the complete train track and the abandoned train track in

my design also represent hope and hopelessness.

I went to the Hong Kong Railway Museum to see the period train. The museum was

the old train station, which was built in 1913. It was a good field research for me to design a

more real proportions of train track a texture for the set design.

The train and near it is the forest. It is good for reference to my set design.

31

I wanted to show that the speed of train is very fast and make it so that people cannot

clearly see the train body. The forest is misty and the train track is very far away. We just can

see the shadow of the moving train and the light it emits through the trees. So I used the train

light and smoke to replace the real moving train. Also this method can save money so that we

don’t have to build a physical train.

32

5.1.7 About filmic elements

I would like to create an

impressive opening of the play. And the

Director wanted to use the movie effect to

present this important moment. So I focus

on showing a motion of Chou Hu jumps

from the train in the beginning.

I found out that there is an important and easily identifiable filmic element: Aspect ratio

(image). Here is the simple introduction of Aspect ratio (image):

"The aspect ratio of an image describes the proportional relationship between its width and its height for presenting media."8

There are different types of aspect ratio to present image. The most common Aspect

ratios nowadays use in movies is 1.85:1. The frame of this scale is long and narrow.

I would like to design using this long and narrow frame into my set design.

Therefore, I dropped the header down to create a silver screen frame. It can represent a film

feel in the story. Also can cover a part of the forest. After I raised the header, I created a

visual change for audience and highlight the forest scale.

8 Wikipedia, the free encyclopedia Aspect ratio (image); https://en.wikipedia.org/wiki/Aspect_ratio_(image): the Wikimedia Foundation, Inc

It shows a series of actions about character jumps from the train in the movie

33

5.2. Design Development

5.2.1 First discussions with Designer

The production started in July. Because I was an art festival volunteer in Japan

between July and mid August, we had discussions using Skype and e-mail. Jonathan told me

about the production schedule, show budget and physical limitation of Scenic paintshop,

space and venue. There was the renovation in paintshop during the production period. It

means we do not have enough space to place a big set piece. Therefore, it impacted the set

design directly.

The director told us his artistic choices. For instance, he wanted to create a less

realistic style of the set; he suggested using gauze with shadow effect and the filmic feeling;

also he wanted the forest to change or move, to present the different locations in Act 3. When

Chou Hu and Jin Zi escape in the forest; he wanted to create a shocking opening to present

Chou Hu jumped from the train; Also he did not want to create a realistic house, he though it

is suitable that only have few pieces of furniture with a part of construction of house.

After meeting the Director, I started to find the research and set sketching in Japan.

Also I started analyzing the script and playwright.

34

5.2.2 Sketch and Inspiration

I got many inspirations and ideas from many artworks and Japan’s environment. After I

read the script, my first impression was that the forest of the wilderness looks desolated and

lifeless. It made me feel that the world was like a prison in the script. And I thought the story

going from tidy to messy.

Then I found some references. It inspired me to draw the set design sketch. But it could not

create a desolate feeling of the story. It looked like I only put different elements together, and

made a messy picture. So I had to analyze the script in more detail.

Try to design the tree track can split into different smaller pieces. And used different material to represent the tree. Such as iron bar or pipes.

Fly in the projection to replace tree tracks. It presented Chou Hu’s hallucination.

35

After I finished the scene breakdown,

analyzing the script, and initial research of the

playwright. I made the rough location map based

on the script. It helped me to get a general idea of

what locations were needed onstage.

And I drew this sketch for the

whole story. There were some straight

lines to represent the forest. Behind of

the forest, the train track was hanging

in the sky. The train track represented

a dream and "Hope for future" that

Chou Hu wanted to get this dream.

However, I estimated it needed a bigger budget to build the set. So I put aside this design

and began to explore other possibilities.

36

5.2.3 First meeting with Director

After I came back to Hong Kong, I had a first meeting with Director and creative

team. I found some reference to present the mood and elements for different scenes.

The director reminded me to use innovative approach, to design the less realistic set in

this time. I also realized I needed to work with the Lighting Designer very closely. It is

because some effects I wanted to achieve relied on lighting. Such as use of a shadow effect

(P.25-26). And lighting to represent the speed of train moving (P.31). After this meeting, I

kept working on the concept development.

37

5.2.4 First development of Concept

I thought Chou Hu acted like had some power. Therefore, he destroyed the forest

original pattern in the story. So I found the reference to present this feeling:

I imagined the tree trunk could be made of different smaller pieces but this was too

messy. The poplar tree in the script was tidy and straight. The tidiness of the trees made the

forest looked like a prison. After that, Jonathan showed me some research to inspire me to

design the forest pattern.

Finally, I thought Chou Hu

act like a tornado. He destroyed

everything in the story. So his

action made the forest became

messy in the end. Then I found

this reference to inspire me to

design. (Concept & Idea details

from in P.18 to P.32)

38

5.2.5 Sketch Model

I found that the first set sketch for whole

story already fit for my concept. So I based my design

on this sketch, and modified it. Then I build up a

sketch model. I decided to use gauze and tree swing,

to represent location change in forest. The long train

track was behind the forest far away. Also I added a broken train track in the forest, to make a

contrast with the long train track. In Act 1 & Act 2, I would fly in the house flat to present

Daxing’s house. And it would block a part of the forest. I also tried to test the filmic elements

and shadow effect show in the model.

Prologue: Using sliver screen frame to present Chou Hu jump from the train and appear in the forest.

Prologue: Raised the border to created a visual change for audience and highlighted the forest scale.

Act1 & Act2: Daxing’s house under normal lighting. Act1 & Act2: Using shadows effect to present the fantasy moment. And the secret talks behind Daxing house’s wall.

Act3: Chou Hu and Jin Zi escaped to forest and tree swing to present location change (In the beginning of Act3)

Act3: Chou Hu and Jin Zi escaped to forest and tree swing bigger and bigger, to present Chou Hu’s mind (When they got lost in forest)

39

5.2.6 Second meeting with Director

I had a meeting with the Director and the creative team after I finished the sketch

model. I presented the set scene by scene with lighting. In the prologue, the Director liked the

silver screen frame effect. And we used the lighting with smoke to represent the moving train.

In Act 1 and Act 2, the Director liked the house's wall to be see-through, and used shadow

effect to present some special moments. In Act 3, the Director thought it was good to use the

tree swing to represent location changed, even Chou Hu's mind changed. And he suggested

designing one or two rocks for the Act 1. It could make Act 1 and Act 3 contrasting. Also the

character can sit on it or do some movement. I agreed with his suggestion. I thought it could

create richer visual effects.

Then I discussed with the Props team about tree trunks, we designed to use pipes to

be the tree trunks. It is because compared with bamboo. Pipes were more firm and durable.

Then, we decided the trees were maximum 7m, because if the trees were too tall, the trees

would hit the border, and blocked the lighting equipment. Also, the budget only could afford

maximum 15 trees. It is because it can create different layers in the forest. So I divided them

into three different sizes by circumference: 220mm, 150 mm, and 100 mm in diameter.

I also had to consider the transportation of the tree trunks into the workshop since the

loading bay was blocked. We needed to cut the pipes shorter for transportation into the

workshop. Then, the pipes would be pasted back together.

40

5.2.7 Development of design

I designed the forest with a tidy layout. The

characters can walk between the trees and hide behind

them. There were four layers of trees upstage. And I

reserved the downstage for Daxing’s house flat.

I wanted to focus on presenting the tidy layout in

the forest to look more like a prison so I simplified the

shape of poplar tree. And I just kept the straight and tall

element for my design. I would like to remind audience

it was a tree, so I added branches to some trees.

TO DRESSING ROOMDOWN ONE FLOOR

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STANDARD OPENING5.5M(H) X 9M(W)

FLYING BARLENGTHS(MAIN) : 10.6M,EXTENDABLE TO 12.6M

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13.09.2015Wilderness-2.8.dwg

DESIGNER

DIRECTOR

VENUE

SUPERVISOR

PRODUCTION

CONTACT

THE WILDERNESS

APA DRAMA THEATRE

LEE WING SUM

DD CHAN / JONATHAN WONG

JONATHAN WONG

1:75 @ A3

+852 9190 6340


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SCALE


DESIGNER

DIRECTOR

VENUE

SUPERVISOR

PRODUCTION

CONTACT

THE WILDERNESS

APA DRAMA THEATRE

LEE WING SUM


JONATHAN WONG

1:75 @ A3

+852 9190 6340

Trees trunks model (with color)

(Simplify the shape)

Poplar trees

41

The house flat would fly in to become Daxing's

house wall. Sometimes the wall would be see-through,

combined with body movement, to present the fantasy or

secret talk. So I tested with few materials such as gauze,

canvas and ‘Twinwall’. Then I discuss with the Scenic

team, we also agreed that “Twinwall” could create the

see thought effect. Moreover, the material was firm,

which would create a more real effect for the wall. So we

decided to use ‘Twinwall’.

Since the wall needed to be supported from behind, I designed some patterns shaped like

a tree trunks to hide the structure. It also merged with the forest. When the story had fantasy

or secret talk moments, the wall looked like an outdoor wall. So I added some texture on the

back of the wall.

I also wanted to add some Chinese elements into the house. I chose this Chinese pattern

for the window because it was tidy. The tidy pattern looked like a iron net in the prison.


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SCALE


DESIGNER

DIRECTOR

VENUE

SUPERVISOR

PRODUCTION

CONTACT

THE WILDERNESS

APA DRAMA THEATRE

LEE WING SUM


JONATHAN WONG

1:75 @ A3

+852 9190 6340

42

I wanted to create a decadent feeling for the house, to represent

Daxing's family going poor and having no money to restore it. I chose this

door reference because it was old and raw, to create a desolated feeling.

Besides the Director suggested keeping only the door frame for easy

access. However, having a house without a door would be stranges. So I

designed one door closed and kept one door opened. And I wanted to

place the house door near stage right since other location would disturb

the shadow effect.

The door reference from Chinese village

Back side of house wall

Front side of house wall

Wall texture reference

'Twinwall' smaple

Front side of house wall

43

Since I wanted to create layers and perspective

in Daxing's house. I designed to fly in a Chinese

style beam with column to become a part of house

structure. Besides, the texture was the same as the

door to create an unkempt feeling.

I designed a Chinese stone plinth under the

column, to support the column and structure of the

house. Also I wanted to present Daxing's family

greed for money. So I designed the Chinese coin

pattern to decorate it. I simplified the pattern

because it was too far for audience to see the

pattern clearly.

Chinese style beam with column reference

Chinese stone plinth Chinese coin pattern

44

I wanted to show the train track was very far away

and that this was the only train track connecting the

countryside and the city. It represented "Hope for future".

So I designed a long train track in the Rear stage.

It is because I wanted to design a broken train

track to represent no hope and represent a contrast

between the broken train track and the complete train

track. It gave a contrast between hope and no hope.

And the broken train track had a perspective. It can

help to exaggerate the distance on stage, to present

that the complete train track is further away.

I decided to put only the track in the set. It is because I wanted to keep the set tidy. And

the rocks under the train track, would make the floor messy and disturbed character

movement, therefore I decided to ignore the rocks.

Besides, I wanted to design the train track to look more realistic. I measured the

dimension of a real train track, which in the Hong Kong Railway Museum. Also I got some

train’s structure details and texture from the museum to help me design.


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SCALE


DESIGNER

DIRECTOR

VENUE

SUPERVISOR

PRODUCTION

CONTACT

THE WILDERNESS

APA DRAMA THEATRE

LEE WING SUM


JONATHAN WONG

1:75 @ A3

+852 9190 6340

Details of train track

Wood texture

45

I decided to use two white gauzes with

painting tree trunks in order to create more

layers and deeper perspective. Also

combined with shadow effect and mist, this

would create an illusion in the forest. I would

like to add the Chinese element into the set.

Therefore I used Chinese brush effect to

paint the tree gauze. The brush can create an

organic line, and different shades of the brush

strokes to create different layer of trees.

After the second meeting with the

Director, we agreed to put some rocks in the

set. So the character can sit on it or do some

movement. After I found the research about

rocks, I design three different size rocks and

when the rocks changed the position, it can

represent the location change. The rocks were

in the same colors as the forest. It presented

the rocks as part of the forest.

I painted some gloss in some part of the

set to combine with lighting to present the

water effect. It represented the lake and

puddle in the forest.

46

White card model

Prologue-Forest In the beginning, the header would be dropped down to 3.5m. It created a sliver screen proportion. Combined with lighting to represent the train moving. Then Chou Hu appeared between two gauzes, to present jumped from train.

Prologue-Forest After Chou Hu appear, the header raise to 5m. Then he went to down stage, which is in front of the gauze. Then the shepherd appeared.

47

Prologue-Forest Then, the gauze was fly out. And Daxing and Jin Zi appear. At the same time, Chou Hu and the shepherd hide in forest.

Act 1 & Act 2- Daxing’s house It shows Daxing’s house under normal lighting. (The furniture to be confirmed)

48

Act 3- Forest The gauze fly in to present Chou Hu and Jin Zi escaped in the forest. Then the poplar trees started to swing. Combined with shadow play to represent location change.

Act 1 & Act 2- Daxing’s house Using shadows effect to present the fantasy moment and the secret talks of Daxing house’s wall.

49

Act 3- Forest Then the poplar trees swing to the other side and become bigger and bigger. And Chou Hu starts his hallucination.

Act 3- Forest & Wilderness In the end of story, after Chou Hu died. All of the gauze fly out and the poplar trees swing back to the original position. Train appears at the rear stage to represent Zin Ji escaped successfully.

50

5.2.8 Modification of Design

After the overall presentation and costing, we know the budget was not enough to build

the whole set. We needed to cut and change a part of the set. For example, we cut the white

paint gauze, and replace the white gauze. It is because it did not really affect the forest

perspective much. The budget only could afford maximum 11 trees now, so I rearranged the

forest pattern; after discussing with the production team, we decided to cut the broken train

track into two parts because we needed to reserve a gap for white gauze.

Moreover, the Director gave some comments on the rocks. He thought they were too many of

them in set. He needed characters to sit on the rock and do some movement. So I decided to

keep only the biggest rock. In Daxing’s house, the Director thought the stage right area was

not enough space for acting. So I decided to move the house door to closer to the center.

About Daxing’s house wall, I found some color and

texture reference for the house wall. I decided to use monotone

for the house wall. Because I wanted to present the Daxing's

house was faded after sunset. And the texture was old and raw,

to create a desolate feeling. Also it represented Daxing's

family's poverty and lack of money to maintain the house.


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HOUSE FLAT W/ MASKING

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COLUMN

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BENCHES

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UPDATE

SCALE

30.09.2015Wilderness-gptd-3.7.dwg

DESIGNER

DIRECTOR

VENUE

SUPERVISOR

PRODUCTION

CONTACT

THE WILDERNESS

APA DRAMA THEATRE

LEE WING SUM


JONATHAN WONG

1:75 @ A3

+852 9190 6340

51

I decided to put a few furniture pieces in Daxing's house, which included: A square table

with two chairs, a bench and a cradle. Therefore, I found some Chinese style furniture and

designed them. The furniture's color I decided were the same as poplar trees. And some of the

props I found in school storeroom, SM team would buy some of them. Some of the props

would be made by the Props team and Design team (me and assistant). For example, for the

cradle, the Props department made the structure. It is because buying from the Internet was

too expensive. I found the structure size research in Internet for the Props department making

it. Besides, the cradle and decoration would be bought online by SM department.

And the Props department made the square table too. It would be cheaper to make a new table,

rather than buying online. The table size and design was based on Internet reference. But the

Director thought the table was too high. In the making process, we cut the table leg to become

shorter. Besides, the Director wanted Daxing in Act 2, to stab the table with a knife in his

anger. After I discussed with the Props team, we decided to use foam board replace a part of

the table face. The foam board would be painted same as the table color and it was easy to

change a new one if the older one was broken.

(Reference)

(Reference)

Testing for using knife

inserted on the foam board.

52

It is because the Director wanted the actor to look taller when they sit on chair. I found the

original chair in storeroom was not tall enough. After I discussed with the Props team, we

thought make a new chair was easier and safer rather than to modify the chair's leg size. Also

I increased the length of the seat, to adjust the chair’s proportion to make it look normal. It is

because it was very strange in proportion if we only made the chair's legs longer. Finally, the

two chairs made by the Props department and based on the original chair in storeroom as

reference.

(Reference from storeroom)

53

5.3 Final Design

5.3.1 Details of Final Design

Final model with color

Prologue-Forest

In the beginning, the header would be dropped down to 3.5m. It created a sliver screen viewpoint. Combine with lighting to represent the train moving. Then Chou Hu appeared between two gauzes (1 painted white gauze & 1 white gauze), to present jumped from train.

Prologue-Forest After Chou Hu appears, the header raise to 5m. Then he went to down stage which in front of the gauze. And the shepherd appears.

54

Prologue-Forest Then, the gauze was fly out. And Daxing and Jin Zi appear. At the same time, Chou Hu and the shepherd hide in forest. Then, Daxing’s mother first appears.

Prologue-Forest After Daxing and his mother leave. Jin Zi and Chou Hu meet again in the forest.

55

Act 1 & Act 2- Daxing’s house It showed Daxing’s house under normal lighting. (With furniture)

Act 1 & Act 2- Daxing’s house Using lighting and shadow effect to show the house wall started change to see-through (Before Chou Hu’s memory started)

56

Act 1 & Act 2- Daxing’s house Using shadows effect to present the fantasy moment. And the secret talks behind Daxing house’s wall.

Act 3- Forest The gauze fly in again, to present Chou Hu and Jin Zi escaped in the forest. Then the poplar trees started to swing to stage right, to represent location change.

57

Act 3- Forest The poplar trees swing to stage left, to represent location change.

Act 3- Forest Then the poplar trees swing to the other side and becomes bigger and bigger. Combined with shadow play, to represented Chou Hu starts his hallucination.

58

Act 3- Forest & Wilderness In the end of story, after Chou Hu died. All of the gauze fly out and the poplar trees swing back to the original position. Train appeared at the rear stage to represent Zin Ji escaped successfully.

59

5.4 Design Realization

5.4.1 Scenic and lighting test on wall and tree trunk

After discussion with the Scenic department, we decided to use raffia for texture on the

back of the wall. It is because raffia can make the wall appears outdoors, during the fantasy or

secret talk moments in the story, So I added these texture on the back of the wall. Therefore,

the scenic artist made a color and texture sample for Daxing's house. We tested with the

Lighting Designer. For example, shadow effect, texture and the color changing under different

lighting angle. In the making process, the Scenic team covered too much raffia on the wall

and tt made the shadow effect too messy and looked scary. Then we decided to take some

raffia out and tested again.

Buy the raffia in the Internet

1st House wall sample & Lighting test:

Front light to test the wall color and texture

Back light to test the shadow effect

3rd House wall & Lighting test:

Then we put some raffia out and follow back the wall sample’ raffia pattern again.

There was too much raffia on the wall. It made the shadow too messy and not clear.

2nd House wall & Lighting test:

60

Besides, we also test the Daxing’s house wood texture and

color with lighting. It is because the stage was far away from

the audience, we decided to magnify the wood texture. I chose

color and texture in A because the texture of B was unreal. It

looked like an unevenly painted wall. The A texture matched

with my model, to present the raw and desolate feeling for

Daxing house. So we decided the house structure texture and

color were to follow sample A.

Daxing’s house wood color and texture testing (with lighting)

A

B

Normal lighting in Daxing’s house.

The fantasy moment in the show.

61

5.4.2 Tree texture and swing mechanism

At the same time, we kept discussing with Technical Director about the tree swing. The

technical limitation and manpower limited the tree swing angle, which only can swing a

maximum of 20 degrees. Besides, the Director wanted to have the blasting effect on some

trees to imitate the gun shooting effect. We then did the blasting testing with the Director and

discussed with him. We decided to have two small blasting effects in two trees. It is because it

could represent there were many police hunting Chou Hu and shooting him.

The Props department made the tree trunk shape. We decided to use pipes to make the

tree trunk. After the Props maker tested the material such as mud carving and texture fabric,

to create the tree texture, we decided to use texture fabric. It was easy to cover the bottom of

tree and the trunk. It is because fabric was soft. Also the fabric texture looked more natural

than the mud carving texture. Then, the Scenic department would paint the color on it. It is

because there was trees blast. The Scenic team would prepare the fire protection on the trees.

Also we reserved some fabric to cover the tree bottoms after move-in.

Painting tree trunk

Using texture fabric to cover the pipes and create tree texture.

Cut the circle shape around the tree trunk to cover the swing machine.

Tree blast points and the tree swing effect during the show.

62

5.4.3 The shadow effect

During the rehearsal, we had a movement coach, Gigi to create the shadow effect and

movement. And we test the movement with the gauze. In the show, the shadow effect

combined with lighting was better than I had imagined. It was good to make the real and

illusion become blurry when Chou Hu and Jin Zi were lost in the forest. Also the shadow can

enlarge Chou Hu’s feeling very scared when the big police shadow appeared.

.

This shadow effect present police hunting Chou Hu, and they come closer.

Then the actors changed their movement to represent the temple in the forest.

Finally, the actors changed become a train. Combined with lighting, the shadow became bigger. And Chou Hu ran to the train track suicide by train hit.

63

5.4.4 Modification of gauze design

After the final presentation, the Lighting Designer said

that the white paint gauze was too bright to create the

shadow effect. So we discussed with the Scenic Artist for

solving this problem. After our discussion, we decided to

paint the grey color for the background color. I decided to

put the darker grey color on the upper side and the lower

side, and fading to lighter grey color in the center part of

gauze. The two sides were darker because it can match the

surrounding color when combine with lighting. After painted the grey on gauze, we tested with lighting and fine-tuning the color.

64

5.4.5 Modification of train track

The Director strongly requested the broken train track

could become higher after the rehearsal. So the

characters can sit and still walk on it. I suggested

enlarging the whole train track a bit to make the

characters able to squat on it. But it is too high to

walk on it. And the Director wanted the characters to

be able to comfortably sit on the train track. Therefore,

I did the research and re-design the broken train track.

I made it look like it was sinking into the ground

because of the earthquake. The train track was

distorted. And the first wooden structure of broken

train track height looked like a chair, so characters can

sit on it more comfortable.

The reference showed the earthquake lead to train track sink into the ground.

The new version broken train track in the set.

(Close up of new version broken train track)

(Move-in) Finish broken train track building.

65

5.4.6 Modification of rock

During the rehearsal Jin Zi was sitting on the

rock. The rock that I designed before did not have

enough space for actor to have any movement.

Therefore, I decided to cut some parts of the rock to

create a sitting space for Jin Zi. At the same time, I

also kept the shape natural. Besides, I discussed with

the Scenic Artist to exaggerate the rock's shadow and

highlight the shape to make it easier to see from the

distance.

(Move-in) Finish the rock making.

66

6. ADJUSTMENT AFTER MOVE-IN

After move-in, the Director thought the first wooden structure of broken train track was

high enough to sit. But the wood was too big that blocked the rest of the track. It made the

audience unable to see that it was a train track. After discussion, we decided to cut half of the

wood to make it smaller.

(Move-in) After cut a half of first wooden structure. (Move-in) The original size of first wooden structure.

67

After the Directer saw the full set of Daxing's house with furniture. He thought the cradle was

too big compared with the house, and it would block actors. I realized that I had not compared

with other funiture when I designed the cradle. So we discussed with the Props team to

narrow the size of the cradle, to make a new structure.

During the technical rehearsal, we found that Jin Zi still did

not have enough space sit on the rock. Therefore after discussed

with the Props team, we decided to let actor sit on the rock and

cut the space. So to make sure the sitting space enough for the

actor.

Actor demonstrates the pose when she sits on the rock.

The original rock. New sitting space on the rock.

The original cradle. The new cradle.

68

There was a problem with the train shadow

effect in Act 3. The train shadow effect used a

cardboard to create the train shape, combine

with movement to represent the train moving.

Julie Lynch, Head of Design Department,

thought the train shape was too simple and

rough. It looked like a primary school’s

production. So I did the research from history

and re-made a new train shape with more

details. And I made a perspective to present this

effect.

The original train shadow shape.

Then I found the reference and re-made a new train shape cardboard.

New train shape show in the run-through.

69

7. SHOW PHOTOS

81

8. CONCLUSIONS AND REFECTION

During this production, I learn many things. First, there was required indoor space and

outdoor space in the script. Such as indoor space include Daxing's house; outdoor space

include forest, lake and train track. These spaces needed presenting on the stage. So I came up

with the best way to hold these two spaces together. Also they would not clash together and

support the action. For example, the furniture in inside (Daxing's house) would not block the

shadow on the wall, and the actors can act behind the wall at the same time by using

'Twinwall' during the show.

Besides, I decided to use the most important element (key element) for each space. Such

as the poplar tree trunks for the forest (outside space); the wall structure with some furniture

in Daxing’s house (indoor space). I used more of these elements and tried to develop them, to

make them to be symbols rather then just objects. I tried to use these simple elements, which

could produce a strong meaning in the set. And as a designer, I sometimes can install small

parts of the set rather then to build a whole solid construction. Such as decided to fly in a flat

to represent Daxing's house. I have learned to think through how to position different small

pieces of the set, and how to mask them to fit for the design concept. Such as using a gauze

with shadow play and combine with lighting, to present a different angle of forest and

moment during the show. Also I have tried to express the dark nature or underworld, which

come from my research of the forest. For instance, I used the dim colors and sharp geometric

shapes.

Moreover, I have learned how to work in construction- unfriendly environments such as

the renovations of paintshop during the production. It made me learn how to organize the set

in the most efficient way such as decided to cut the pipes shorter for transportation; painted

the tree trunks, train tracks, house structure, furniture in same monotone color, to fit the

paintshop only support limited level. Also it can match with the mood of the set design that

the surrounding was faded in sunset.

I have also learned how to handle the relationship between designer and the Director.

The play is an old school traditional Chinese story. In this production we build a less realistic

frame in the set. I developed my design concept and sometimes to fulfill the Director

requirements. Such as the filmic element to present the moving train in the beginning of

Prologue was a successful visual view. And I have learned not only to follow director’s

82

request, but also to put the designer's aesthetic sense to merge with the designs. The example

is I decided the sit area for actor on the rock also kept the rock natural shape.

I think this production was a very useful experience. I learned to listen more carefully to

the opinions of others. And I could understand different department's work duty, to

open-mindedly work and communicate with them.

After review the final outcome, I think this production was successful although some

part of set design was not as I expected. For example, the projection effect looked rough and

odd in the show. I think we can try to input different performances elements into the show,

and the projection style can match with my set design more. However, the overall set showed

the mood and theme as what I imagined. Also it was useful that I decided to change a small

part of set. For example, the tidy forest pattern created a peaceful feeling. When the tree

swings with shadow play, the forest pattern become messy to create tension. Also it created

different mood and location for expressing the story and atmosphere. Finally I have learned

how to transfer my original concept to a physical setting in the real production.

83

9. BIBLIOGRAPHY

Britannica, T. E. (2016). Cao Yu Chinese author. Retrieved from Encyclopædia Britannica,

Inc. : http://global.britannica.com/biography/Cao-Yu

GUIDELINES, T. A. (2007). Retrieved from Australian Production Design Guild Guidelines:

http://www.apdg.org.au/wp-content/uploads/2015/02/APDG_PP_GUIDELINES_FINAL.pdf

vivina. (2010). 曹禺. Retrieved from 中文百科在线:

http://www.zwbk.org/MyLemmaShow.aspx?zh=zh-tw&lid=92991

Wikipedia. (n.d.). the free encyclopedia Cao Yu. Retrieved from Wikimedia Foundation, Inc:

https://en.wikipedia.org/wiki/Cao_Yu

Yu, An Introduction to Cao. ( 2011). Retrieved from The White Rose East Asia Centre

(WREAC):

http://www.wreac.org/chinese/events/past/cao-yu-centenary-in-britain/an-introduction-to-cao-

yu

胡亮宇. (2010). 試論莎士比亞對曹禺早期戲劇創作的影響. Retrieved from Journal of

Hainan normal university (Social Sciences):

http://mr.gxiang.net/upfile/ebook/89/63452136829942905493.pdf

茅盾. (1941). 白楊禮讚. Retrieved from http://www.skhsbs.edu.hk/chi/ref/Artical/80.html

黛珂. (2010). 白楊樹. Retrieved from 中文百科在线:

http://www.zwbk.org/MyLemmaShow.aspx?zh=zh-tw&lid=89752

84

10. APPENDICE

100

Furniture List

No. Furniture name Qty. Description Reference Support

01 Cradle 搖籃

Cloth Hangings

1

Many

For baby(小黑子)

Construction:

Making

Cradle:

http://world.taobao.com/item/20573612

276.htm?fromSite=main&spm=a312a.7

700824.w4002-11790895669.40.CJWS

YU

+ Color touch up (same as other

furniture)

Cover cradle fabric:

Buy

Buy in taobao:：

https://world.taobao.com/item/39855872

630.htm?spm=a312a.7700714.0.0.NvjB

qL#detail


701.htm?spm=a312a.7728556.14146511

74895.3.78lNWt&scm=1007.10146.607

0.0&id=19667469701&pvid=9450c56c-

f584-490e-84a0-910ff28a2de3



00824.w4002-5040424610.37.EMouGq



28556.0.0.REX14o

＊Each items may buy 7-10 piece and

stich it together

101

02 Square table

方桌

1 For house interior

Making

* Make an area for can using knife

inserted on table (大星)

03 Chair 椅子 2 For house interior

Making or borrow from stock and

change it high

04 Bench 長凳 1 For house interior

Making

102

Props list

No. Props name Qty. Description Reference Support

01 Small rock石塊 Few For金子 pick a stone

from the train track

and throw to大星

Color touch up (Same as set)

02 Red mat紅拜墊 1 For house interior

Buy in taobao:


0642.htm?spm=a1z3o.7406521.0.0.Qx4

ct0

(45x45)cm

+ Color touch up (same as other

furniture)

03

Tray托盤

Teapot 茶壺

cup茶杯

1

1

4

On square table

Buy in taobao:

Tray托盤：



700824.w4002-6654820047.103.655jB

F

Teapot 茶壺:



700824.w4002-10826535107.100.YO5

mEM

+Color touch up

cup茶杯：

From stock (two have fish pattern and

two is pure white, same shape match

with fish pattern cup)

103

04 Flagon酒壺 A

1 For drinking

（常五）

Buy in taobao:


2757.htm?spm=a312a.7700714.0.0.bcP

JqV#detail

款式：白

+Color touch up


393.htm?spm=a312a.7700714.0.0.iFY4

Zz - detail

05 Wine bowl酒杯 1 For drinking

（常五）

Buy in taobao:


9808.htm?spm=a312a.7728556.141465

1174895.11.1xMVOH&scm=1007.101

46.6070.0&id=42785929808&pvid=20

66578c-3ee5-483c-964e-1666e35f5f29

款式：高腳杯（純白）

+Color touch up

06 Flagon酒壺 B

1 For drinking

(大星+仇虎)

（2公斤：7Rx16L）

Buy in taobao:


3192.htm?fromSite=main&spm=a312a.

7700824.w4002-11631286021.22.MTv

CsY

+Color touch up

07 Wine bowl酒碗 2 For drinking

(常五/大星+仇虎)

Buy in taobao:



728556.w4004-10826745905.4.7oZHV

b

款式：魚花

+Color touch up

104

08 Women shape

woodcarving女

性木雕

Red fabric (For

cover)

Amulet (top)

1 In cloth wrapper (焦

大媽)

Making

*Details please see remarks

09 Whip皮鞭 1 Hang on the back

door

Buy in taobao:


6873.htm?spm=a312a.7700714.0.0.Kh

QaMS#detail

+Color touch up


6917.htm?spm=a312a.7700714.0.0.Fyg

5k8 - detail

10 Red lantern紅

燈籠

8 For actors (常五/白傻

子)

Buy in taobao:


69.htm?spm=a312a.7700714.0.0.RqujJ

G#detail

+Color touch up

* Waiting Gigi conform

11 Candlestick /

lamp

燭台／油燈

1 For actress (金子)

Buy in taobao:


8423.htm?spm=a312a.7700714.0.0.K1p

DBU#detail

+Color touch up

105

Remarks:

12 Already packing

food(西樵大餅)

1-2 For character(大星)

西樵大餅:

Making

Packing paper & string:

Buy

Grad project_DD Chan

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