Two Examples of “A” quality work. Please note that the second example uses a
radical concept. This works because the writer has clearly explained how the
designs relate to the theme. Choosing a radical reinterpretation like this
(technically known as a ‘high concept’) can be a lot of fun, but if you choose
this route you need to be aware that the rules still apply. You don’t get credit
for just being weird or radical. You get credit for making your ideas work with
the script and your chosen theme. - Dawson
Alexa Brewster
Drama 101
March 2, 2012
Director’s Concept Form for Anna in the Tropics
Statement of Theme:
This production will focus on the battle between tradition and modernization.
Modernization represents change and that is something this play so carefully
highlights. We will emphasize the conflict between tradition and applying
contemporary methods that might create better revenue in the future. Their culture
believes in the importance of lectors, crafting cigars only by those with skilled
hands, and vowing to monogamy, all of which are put to the test in this play. Battles
are always dark and in a battle you can’t be on both sides, so the characters will be
forced to either stick with the beliefs of their culture or take a chance and follow the
world of modernization.
Why theme is important/relevant today:
The battle between tradition and modernization is something the human race still
fights today. For that reason it’s so easy for the audience to connect and relate to the
plot and characters of this play. In this play we see how industrialization has shaped
our world today. It’s interesting for the audience to see what life was like in the late
1920’s and how much modernization has changed and shaped our society today.
Central Image and its relationship to the Theme:
At first glance this photo caught my eye because of its transition from rustic colors
to black and white. Contrasting black and white photos were all the 1920’s had, and
as time went on photographs modernized into color. This was an obvious parallel to
the plot of this play. The worn color pallet reminds me of the old traditions of Cuban
families and their struggle to keep hold of them. The clouds seem to be in motion,
which reminds me of the movement of industrialization and the smoky air that
consumed Ybor City. The variety of textures in this photo represents the uniqueness
of each character. This photograph looks silent, which perhaps means this factory in
no longer in commission, which is the inevitable fear of Santiago and his family. It’s
funny how this photo of a factory in no way reminds me of Santiago’s factory, yet it
reminds me so much of this play.
Scenic Design:
Timeworn wood and rustic brick walls will be the foundation of this set. We will aim
for a very earthy, rural essence. All colors will be muted down into deep, warm
neutrals (with the exception of costumes). The main characters will be dressed very
clean and respectable. I imagine white clothing so the contrast between the set and
character will be very dramatic. The women will wear patterned dresses, men
dressed in dress shirt and slacks. The set will embody hardship; desks will be worn,
workers will be a bit grimy, chairs will be rickety…the set will not be perfect. It will
be old, as if perhaps they need to upgrade and modernize their factory.
Lighting Design:
I see this play as a dark drama given the betrayal, addictions and deaths, (I say
deaths because not only does Juan Julian die but also life as the characters know it
appears to be dying as well). That being said I want the lighting to be muted, not
harsh or unnatural, I want it to be dark. I’d like to focus on the browns so the
audience can feel the atmosphere of an old factory warehouse. We will make sure
that the background is a bit subdued so the characters can really pop in front of it.
Sound Design:
The sound design will be very basic. Since there is so much commentary in this play
music won’t act as a dominant force. However, when it’s used to separate scenes the
sound effects will be very blunt but brief. I like the idea of background noise because
in my understanding no factory was ever dead silent, I want the sound to be as
realistic as possible. Chairs and desks will creak, the outside world will be heard
very softly, and a phonograph will play with music that really brings the audience
back to the late 1920’s.
EXAMPLE #2 by Carmen Clayton
Statement of Theme
One main theme of Anna in the Tropics is progress. In the late 1920’s, with
industrialization on the rise, small, family-owned factories - like the cigar factory in
the play - were threatened. A new lector highlights this trend: he reads Anna
Karenina, a relict of days gone by, but is a harbinger of changing value, as he plays a
role in convincing a main character to stray from traditional expectations.
Why theme is important/relevant today (Purpose)
Anna in the Tropics illustrates the effect of an ever-changing, ever-evolving society
on the people that inhabit it. Business practices change, relationships change, people
struggle to keep pace. This was just as true for the characters in Anna Karenina, in
the 1870’s, as for the factory workers in Anna in the Tropics in the 1920’s. It also
rings true today, just as it will tomorrow, in fifty or even 100 years.
Central Image and its relationship to the Theme
This image shows a very rounded, fluid setting, with many glass elements. The
lighting is bright and clear (with natural sunlight, but a similar clarifying effect could
be achieved with proper stage lighting). The theme of progress is evident in nearly
every element of this image: the smooth, gradual lines of the architecture reinforce
the equally gradual progression of events (corners would symbolize a sharper
demarcation); the furniture is rounded and organic, akin to the erosion of natural
monuments; the windows seem to offer access to a nearly infinite view, perhaps
even beyond the horizon, but in truth are a physical boundary.
Brief description of other design elements
Scenic Design:
The entire play will take place on a highly stylized, futuristic spaceship. Everything
will be either matte white like medical grade silicone, shiny and reflective like
chrome, deep black like rubber, or as transparent as glass. The furniture (including
the work stations) will have rounded corners and organic shapes. The ceiling will be
domed, doorways oval, and windows round; any windows will show only a glimpse
of a field of stars.
Lighting Design:
The lighting will be bright, but softened/highlighted with accents of blue and purple,
with red tones reserved for specific scenes. Overhead spots built into the domed
ceiling of the spaceship will be functional, and aimed at each work station. The
workers will not be rolling tobacco into cigars, but assembling sleek technological
gadgets that resemble cigars; the gadgets will have LEDs built-in that blink slowly
when finished.
Sound:
There will be a near constant background noise, like a low motorized hum. Shift
changes will be signaled by a pleasant, yet clearly computerized beeping sound.
Doors will open and close with another short beep. There will be no sounds from the
outside, like birds or passing cars, as this futuristic version of Anna in the Tropics is
set in space.