Hello. Let's talk set. We bump-in on Monday, and I will be posting regular updates on the bump-in as it progresses. So keep your eyes out for that. But before that, I thought I'd give some a little insight into the set ... Mondrian, Piet. Composition in Red, Blue and Yellow
The design philosophy behind The Homecoming is simple. It is a neo-representational set, which, in tune with the aesthetics of Mondrian, serves to provide an abstract, but identifiable setting. Compositionally, Mondrian's work is presented to us on one readable plane – the geometric shapes coexist in peaceful symbiosis, defined clearly by black lines that run between them, separating them. However, when one chooses to exact more attention to just one shape or two, in true trompe l'oeil fashion, the single plane recesses and shifts into several overlapping planes, creating dimension, depth and intention.
Unlike Mondrian, Pinter's trompe l'oeil lies outside aesthetics, but within the conventions of society. The setting is simple and seemingly conventional (Mondrian's single plane) A son, who is returning to his family with his new wife after an absence of six years. The framework within which The Homecoming unfolds is one that is unremarkable, ordinary, and easily accessible. However, it is when each character reveals him or herself individually as part of a unit, conventions start to breakdown. We are aware suddenly of malice, complexity, relationships that are affable one moment, and distinctly schadenfreudean the next. Personality and intention recess and protrude within the single plane: the family unit.
Now, whether or not this intention has been successfully translated into the set of The Homecoming, only you can tell me. So, come and see the show, and you can write to me at firstname.lastname@example.org.One of the first sketches. The final proposal.