SET & DESIGN

Development and creation of the set to be used within Radiant Baby Manifest

The creation of the overall aesthetics in the set and costume to be shown within the final film Radiant Baby Manifest is an essential aspect of the film much as the choreography and edit is, using Valarie Preston-Dunlop's idea of Nexus this project aims to use an integrated form where in which the set, music, costume, choreography, camera work and editing all work as one to create a cohesive project.

"There has to be a relationship between the parts" 

(Horst, L., 1958 cited in Preston-Dunlop, V. 1997 pp.533)

-in conjunction with Preston-Dunlop's theory of the Nexus within the creation of dance performance the relationship between the 'parts' (i.e. set, costume, music, choreography and the use of the camera and edit) has the clear link of Haring and his work. Both the imagery used by Haring displayed within the set & costume design to the political commentary and social elements of his work displayed within the choreography, use of film and the purpose of this very blog.

This piece is ultimately influenced by Keith Haring and his artwork. As without the visual influence of Haring's work this Project would not have the aesthetic quality and vision employed by the creator at the beginning of this Project. The vision into the costume and set design within the film has been to interpret the portrait of Keith Haring by Annie Leibovitz and pay homage to the iconic work of Haring. This particular imagery submerses the dancers within the setting creating an interesting challenge into how the choreography shall stand alone against such a busy background, in turn allowing the viewer to be challenged and filled with such a rich visual image.

The set was created (as planned) by using a frame structure, in which white canvas was then stretched across and painted with a Haring-esque design. The design was painted free-hand, and whilst references to Haring's work were used throughout it must be stated that this is in no way an attempted direct duplication for one or more of Haring's works (with the exception of the 'Radiant Baby' figures).

 The Set ©2011 Amy Bevis-Smith

The costume for the dancers was created by drawing a black graphic design, inspired by Haring's Body Painting work (1983-84) onto white sleeveless Lycra unitards. Together with the set design the strong visual Haring influence can be seen clearly. 

Anna-Lynn Gregoire & Emma Gotts on set for RBM  ©2011 Amy Bevis-Smith

Author's Note

It now feels as though this Project is coming together, as once you see the image of the dancers in the space it becomes a reality rather than just a vision trapped within my head. Originally I had wished for full sleeve unitards to be worn, however as these were not available to me I have chosen to compromise with sleeveless unitards. I still however feel that the desired aesthetics in the set and costume have been reached regardless of minor details such as sleeves! Creating the set & costume has taken allot of time and hard-work, something that as a choreographer and dancer had not had to think about to this extent in the past. I would like to thank Leslie Bevis-Smith for taking the time to create the frame structure used within the set, as if it were not for his hard-work this would have not been possible.

MONOCHROME IDEAS

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. 

frame structure-canvas stretched over frame-hand painted Haring design on canvas (to be repeated x4)

x3 possibilities of arranging frames in order to vary set during filming (more possibilities available)

The same basic structure of the design remains, however rather than creating a flat cyclorama, a four-panel set will be created in order for an inter-changeable set to form.

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.