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THE ROVER, Scenic Design
By: Aphra Behn
Produced By: Ohio University
Directed By: Brian Evans
Lighting Design: Derek Keifer
Costume Design: Kelly Myers
Sound Design: C.J. Whitaker
The Rover takes place at Carnival time; a time where the notion of disguise and deceit is in the air. The characters progress through the piece, often in disguise, navigating the slippery world of love and identity.
The Scenery needed to be active as the characters. I conceived the set to have the maze like quality of ancient Italian cities; so the characters were given ample opportunity to move throughout the city, have romantic encounters, hide and fight.
There are numerous scenes, with both interiors and exteriors that need to change instantaneously from one location to the next and sometimes back again. To facilitate this I chose the Grecian/ Renaissance theatrical device spinning periactoi, but changed them from the traditional 3 sided units to four sided ones. I also used another Renaissance device of false perspective to add dimension and depth. The whirling scenery relates to the topsy-turvy swashbuckling journey of the characters. The material choice of Corefute plastic added translucent element to the world.
THE ROVER, Scenic Design
By: Aphra Behn
Produced By: Ohio University
Directed By: Brian Evans
Lighting Design: Derek Keifer
Costume Design: Kelly Myers
Sound Design: C.J. Whitaker
The Rover takes place at Carnival time; a time where the notion of disguise and deceit is in the air. The characters progress through the piece, often in disguise, navigating the slippery world of love and identity.
The Scenery needed to be active as the characters. I conceived the set to have the maze like quality of ancient Italian cities; so the characters were given ample opportunity to move throughout the city, have romantic encounters, hide and fight.
There are numerous scenes, with both interiors and exteriors that need to change instantaneously from one location to the next and sometimes back again. To facilitate this I chose the Grecian/ Renaissance theatrical device spinning periactoi, but changed them from the traditional 3 sided units to four sided ones. I also used another Renaissance device of false perspective to add dimension and depth. The whirling scenery relates to the topsy-turvy swashbuckling journey of the characters. The material choice of Corefute plastic added translucent element to the world.
a fight for love
Act one finale
interior scene Photoshop sketch by assistant Vince Salpietro
exterior scene Photoshop sketch , by assistant designer Vince Salpietro
The long street
Interior Act 1 scene 1
Duel for Angelica