Set design gallery 佈景設計圖庫:
The venue is an empty space that can be arranged freely.
1. That's how I arranged the venue space: L – stage/performing areas; R – raised semi-circular seating.
2. Stage floor is painted to look like pasture. I took a piece of the pasture-like stage floor home as souvenir!
3. This shows the slope of raised seating in proportion to the rest. 圖示觀眾座位的坡度與全埸的比例。
4. Water backdrop 象徵水的天幕
5. Water backdrop and upper stage projection screen 水幕和上面(第二台)的投射幕
6. Projection screen on upper stage 第二台上的投射銀幕
7. Clouds & trees painted on upper stage/drapes 第二台上的雲和透明垂簾的樹
8. Trees/shrubs painted on mobile transparent drapes 在能移動的透明長簾上畫樹木
9. Angle/measurement of trees/shrubs to be painted 透明長簾上畫樹的角度/尺寸
10. Branches/decoration/tree to be painted on mobile transparent drape 在能移動的透明長簾上畫花草樹木
11. Measurement of clouds, transparent drapes & painting 雲和簾畫的尺寸
12. Transparent drapes with painted trees/branches/grass etc., clouds, rocks & projection screens.
13. I had wanted water on stage for the scene "Galatea turns Acis into water" but that was not permitted. The heart within heart pattern is made by perspex with leon light underneath to give the illusion of water. I made many copies of the basic plan to draw on each showing what will be where in relation to the music.
14. No.1 Sinfonia: Position of drapes, mobile screen, heart within heart floor pattern, water backdrop, clouds, rocks, upper stage tree framed projection screen 開埸時的埸景素描。
15. Another sketch showing set components. 台上各種設計素描
16. Preliminary impression of upper stage projection screen/Polyphemus's eye/tree drapes
17. Mobile projection screens 能移動的投射幕
18. Mobile projection screens measurement 能移動的投射幕尺寸
19. Rock/trapdoor 大石和暗門 Elevation & backcloth 天幕升降
20. Backdrop etc. measurements
21. Measurement of transparent drapes & painting 簾和畫的尺寸
Click to enlarge 點擊放大
Dance-Opera Project 歌舞劇 創作/演出項目
Acis & Galatea 仙侶与巨人
I staged Handel's Acis & Galatea as a dance-opera for the Hong Kong Academy for Performing Arts. Acis & Galatea was originally a serenata consisting mainly of da capo arias with short recitatives in between. The continuous repetition of the lengthy first section of each da capo aria made the work dramatically static on stage, and the recitatives did not always give enough time to carry out the stage action suggested by the drama. For this reason, most of the da capo sections were abridged and new characters created (e.g., birds, the genius of the mountains, cupids, muses) to prevent static stage situations. These characters were based on the libretto. Each character was identified by the costume and played by singers and dancers – e.g., at the end of Act I, there were four pairs of Acis and Galatea on stage.
At that time, and unbeknown to me, I was much influenced by my childhood memories of Cantonese opera despite my Western Classical music training. Therefore this was probably the very first performance in the world of Handel’s Acis & Galatea staged as a dance opera in the style of Cantonese opera with a Cantonese-speaking cast. This became obvious to me when I looked at the production photos many years later (see below). You can see the full story in my (free download), search for Acis & Galatea in the PDF file.
The following are performance photos, together with some of my drawings/designs for this production.
NEW UPDATE 7 Sep: Scroll down to new drawings of set/costume/make-up/hairdo/scene design
Stage design – I arranged the performing space to be like a reversed opera theatre: the auditorium became the main performing stage; the upper stalls became a smaller upper tier stage mounted with a projection screen and the design of clouds; on the sides where the boxes should be were the orchestra in stereo effect – though in the Cantonese opera that I remember instrumentalists were on stage near one side rather than both sides of the wings.
舞台設計: 由於不能在歌劇院演出，我把表演空間設計成顛倒歌劇院：觀眾座位的空間變成演出的空間，大堂座位的地方成為表演的主要舞台;上層攤位成為較小的上層舞台，在那裡有幻燈投影屏幕和裝飾以雲層設計，兩翼廂位成為舞台兩側的立體聲樂隊位 – 雖然在我記憶中粵劇樂器演奏者坐在舞台側而不是在兩翼。
One of my many stage floor plans – The Studio Theatre could be arranged flexibly, and I arranged it to be like a semi amphitheatre so that the audience could have a good view. The floor of the main stage was painted with a pastoral design with neon lights under perspex as flowing water: a heart within heart signifies the obsessive and passionate love between Acis and Galatea transformed into a more gentle and unpossessive love when Acis is turned into water.
I was to make use of leftover black and white materials from the previous production. Here is an example of how I comply to the demand: White for Galatea’s aria AS WHEN THE DOVE.
Further use of black and white leftover materials: Hair scarfs, and dresses with ribbons for the muses; black trousers, white shirts and hair scarfs for the swains. The screen and projection expand the spatial limitations.
Colourful hair scarves – in a fashion that reminded me of Cantonese opera costume (L).
Long colourful ribbons on costumes for the nymphs and Galatea are reminiscent of a type of Cantonese opera costume (image L) that looks good with dance movements.
More use of ribbons: Birds in aria HUSH, YE PRETTY WARBLING CHOIR.
Shiny headgear – reminiscent of similar headgear in Cantonese opera, and matching the ribbon dresses used during dance numbers.
Cupids: White costumes and wigs.
Cupid was changed into three cherub-like beings when love became the motive for murder: dancers with wigs and horror film Victorian doll-like masks, used for the scene of the death of Acis.
Genius of the Mountains: Wig modified and dyed green with a half mask – to create a mixture of an elf and some supernatural creature from Cantonese film.
The Cyclops Polyphemus: My design was inspired by fairy tale; and used Cantonese opera headgear, platform shoes and walking on stilts.
L is a wuchang (Impermanence 無常) that escorts spirits to the Underworld, walking on stilts and wearing a tall hat with the words ‘Seeing this brings good fortunes’ so as not to offend superstitious audiences.
Polyphemus (L) and one of the Cupids R). Between them is a (hollow) rock to cover the trapdoor, and where Acis is to be killed. Galatea is in the front.
ACIS AND GALETEA as colourful ‘big drama' – this is what Cantonese Opera is literally called in Canontese.
L: Love scene, Acis and Galatea inside heart-within-heart.
The eye of Polyphemus appears when the chorus sing WRETCHED LOVERS.
NEW: 7 Sep update 9月6日更新
The following two image galleries contain some of my set/costume/scene design sketches and drawings for "Acis & Galatea" as inspired by childhood memory of Cantonese opera and fairy tales.
Costume/make-up/hairdo/scene design gallery 戲服化妝髮型埸景圖庫:
1. Acis & Galatea programme/flyer 《仙侶与巨人》埸刊和傳單
2. Opening scene of Wretched Lovers 可憐的戀人開埸景
3. Damon costume/hairdo sketches 丹蒙(愛西斯好友)戲服髪型素描
4. Male characters, top L clockwise: makeup - swain - Acis - Acis turned into water.
從左上順時針方向: 男角化妝 - 牧羊人 - 男主角愛西斯 - 愛西斯被殺後變成水
5. A grimly unpleasant Cupid 猙獰小愛神
6. Cupid hairdo/costume 小愛神髮型頭飾和戲服
7. Female characters make-up and hairdo 女角化妝髪型和頭飾
8. Galatea 女主角嘉麗蒂亞
9. Nymphs 女神
10. Polyphemus 單眼巨人
11. Muses and genus of the mountains 繆斯女神和山之精靈
12. Muses 繆斯女神
13. Bird 1 人化的鳥1
14. Bird 2 人化的鳥2
15. Mourning the death of Acis 傷悼愛西斯的死
Click to enlarge 點擊放大
Galatea and nymph
Galatea, nymphs and swains
Galatea sings of her longing to two yellow birds