As this project was initiated and inspired by a specific, graphically visual photograph the overall aesthetics of the film - particularly the set and costume design are extremely important to the overall viewing and success in demonstrating Haring's artistic influence upon the film.
As previously stated the initial proposal for this module consisted of a live performance rather than film, therefore plans into translating the imagery shown within the Leibovitz portrait onto stage were formed.
initial set & costume design for live performance
Many plans were made into creating a Haring-esque imagery including body-paint (as displayed by Haring within the original photograph of reference), however this was deemed impractical due to any transference of paint within the performance space creating mess or damage. Another plan consisted of a projected graphic design on to the entire space, immersing both the dancers and performance space within the same design allowing the performers to 'blend' into the space. This although a valid idea, has the downfall of creating excess shadow within the space, allowing distortion of the graphic image and the viewing of the choreography. This may be some what distracting for the audience and equally creates complication with any stage lighting.
Taking each of these aspects into consideration, the decided form of creating an effective translation of Haring's imagery onto stage was formed of a painted Cyclorama with a Haring-esque design accompanied by each of the performers in a similarly painted unitards (as depicted within the sketches above).
This idea was heavily influenced by the costume used regularly by Merce Cunningham within many of his works, and by the costume worn by Rihanna within the Rude Boy music video, as this is not only visually justifiable and interesting within the context of a Haring inspired performance, but also practical by allowing performers to move freely whilst displaying the alignment of the body and shapes/forms within the choreography.
As this Project has developed dramatically from stage to film after the original plans into the set and costume design were made, these were adapted to be used within a film setting.
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| frame structure-canvas stretched over frame-hand painted Haring design on canvas (to be repeated x4) |
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| x3 possibilities of arranging frames in order to vary set during filming (more possibilities available) |
Using this structure the combination of the four separate panels may be used to form a flat back-drop, alongside an open box-like structure where upon the angles and corners of the set may be changed dependent on the desired framing of shot. This structure will allow the overall aesthetics of the film to fulfill the disorientating element previously discusses as with the combination of the editing process the set shall appear to be a entire room surrounding the dancers with interchanging angles and space.
Author's Note
The set is currently being built, and at a later date I shall be able to explain and display the processes undertaken in creating the set & costume for the film for you. I feel this to be a absolutely vital element of the overall aesthetics of the film and is a big part in visually drawing a link between Haring's work and my own.
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