The Design Of Judgement : Creating An Original Set Design For Chart Korbjitti's play

Authors

  • ณัฐคม แช่มเย็น

Abstract

The Dramatic Arts tell stories from people’s experience and imagination through reenactments and interpretations. To create a successful dramatic production, it’s important for the creators from various fields work together harmoniously. For the set design, the designer(s) must understand the script thoroughly and must have design processes and resources to fulfill the needs of the play in all its aspects. The stage play Khamphipaksa (The Judgment) by Chart Korbjitti is a beautiful piece of writing that contains stories reflecting society and it entertains audiences while also touching their hearts and making them think about larger issues. The design process for the staging of this play started with the study of the literature in order to understand the content of the story. This included analyzing and interpreting the script. The research results are as follows:The Dramatic Arts tell stories from people’s experience and imagination through reenactments and interpretations. To create a successful dramatic production, it’s important for the creators from various fields work together harmoniously. For the set design, the designer(s) must understand the script thoroughly and must have design processes and resources to fulfill the needs of the play in all its aspects. The stage play Khamphipaksa (The Judgment) by Chart Korbjitti is a beautiful piece of writing that contains stories reflecting society and it entertains audiences while also touching their hearts and making them think about larger issues. The design process for the staging of this play started with the study of the literature in order to understand the content of the story. This included analyzing and interpreting the script. The research results are as follows:ศิลปกรรมสาร 39 Khamphipaksa examines the dangers of judging others without taking into account the viewpoints of the other side and of others in society. The playwright makes the audience see the many sides and viewpoints that the play’s characters are unable to. The effort to be persistent would become tragedy at the end. Feelings were expressed through unusual singing. However, this is not a realism drama so the audience must look deeper and imagine what actually happened on the stage through symbols. The research then emphasizes the ways to present the emotional impact. During the development process, the mesh was created to signify the presentation methods and was there to metaphorically represent entrapment and danger. It was designed with local materials such as bamboo, and to be clearly visible along with metal frames that were arranged on a slope to give the feeling of discomfort and pressure. The slope indicated the insecurity, the flexibility, and the changes. It also created space for various expressionist scenes that could express each character’s emotion. The main structures of the floor and the ceiling were built by welding metals for more durability. The painting technique provided more dimensions to the surface. During the second phase of development, there was an additional revision around the walkway. Also, all elements were considered to improve to be more harmonious. A 3D computer program was used in the design process from drafting to making models, which provided the work flexibility among the staff to be able to visualize things in the same direction and to work efficiently.

References

กรมวิชาการ กระทรวงศึกษาธิการ. (2531). ศิลปะการละครเบื้องต้น 1-2. พิมพ์ครั้งที่ 5. กรุงเทพฯ: ครุสภาลาดพร้าว. ไชยรัตน์ เจริญสินโอฬาร. (2545). สัญวิทยา, โครงสร้างนิยม, หลังโครงสร้างนิยม กับการศึกษารัฐศาสตร์. กรุงเทพฯ: วิภาษา. ซไูรมาน เวศยาภรณ.์ (2541). ฉากละคร 1. พมิพค์รง้ัท่ี 4. กรงุเทพฯ : ดา่นสทุธาการพมิพ.์ ปิยะนาถ มณฑา. ม.ม.ป. งานประพันธ์ประเภทละครของอังกฤษและอเมริกัน. กรุงเทพฯ : มหาวิทยาลัยรามค�าแหง. พรรณศักดิ์ สุขี. (2541). การเขียนบทละคร. กรุงเทพฯ: แผนกต�าราและค�าสอน มหาวิทยาลัยกรุงเทพ. วิรุณ ตั้งเจริญ. (2544). ออกแบบกราฟิก : [กราฟิกดีไซน์] Graphic Design. พิมพ์ครั้งที่ 2. กรุงเทพฯ: อีแอนด์ไอคิว. Barthes, Roland. (1957). มายาคติ. แปลโดย วรรณพมิล องัคศริสิรรพ. พมิพค์รงั้ที่ 2. กรุงเทพฯ: ส�านักพิมพ์คบไฟ. Barthes, Roland. (1977). โวหารของภาพ. แปลโดย ประชา สุวีรานนท์. วารสาร ธรรมศาสตร์ ปีที่ 21 ฉบับที่ 2: 110-112. Crabtree, Susan & Beudert, Peter. (2005). Scene Art for the Theatre. 3rd ed. Burlington, MA: Focal Press. Lord, William H. (1990). Stage Craft 1. 2nd ed. Colorado, Springs: Meriwether Publishing. Parker, W. Oren & Wolf, R. Craig. (1990). Scene Design and Stage Lighting. 6 th Printing. Fort Worth, TX: The Dryden Press. Raul, Bill. (2012). Stock Scenery Construction Handbook. 7th Printing. Louseville, KY: Broadway Press. Shervin, Stephen. (2006). Scene Painting Projects for Theatre. Burlington, MA: Focal Press

Downloads

Published

2020-01-02

Issue

Section

Creative Research Article