Theater Collaboration Project Group 87 Oedipus The King Jessica Sunny Sayan Tarafder Kala Thomas Hunter Stroyick

1. Oedipus The King:
Play Production
By: Jessica Sunny
Sayan Tarafder
Kala Thomas
Hunter Stroyick

2. Set Design

3. Environment
• The script is analyzed: How do the actors speak? How do they move? In
what kind of home or setting do they function? Do their lives seem
cramped or out in the open?
• With the answers to the above questions, the set designer can make
pencil sketches and notes about the design.
• The environment must be an area where the characters can interact in a
concrete manifestation of the visual world of drama.
• The designer must find out if the play is trying to be realistic,
expressionistic, or fantastic.
• For Oedipus the King: the environment must be in the past tense (Ancient
Greek time), realistic, at a Greek palace, more out in the open than
cramped.

4. Environment Examples
A thrust stage would be best to
have the audience more
involved.
These type of columns on stage
give a more ancient Greek feel
for the inside of the palace.

5. Mood and Style
• The stage institutes the style, mood, and meaning of the play. The setting
can make the mood: Are the actors happy, sad, gloomy, ecstatic?
• This aspect of the production is achieved with colors, furniture,
architectural shapes, fabrics, and other elements.
• A family drama about strict parents may have empty walls and no
windows to show the mood of being “locked in.”
• A happy play about a bright little child may have cheerful colors, like bright
blue, pink, or yellow, all across the background to show the mood of
optimism.
• Set design sets the tone and style as well, by communicating where and
when the play takes place and the genre of the play (tragedy, comedy,
etc).
• For Oedipus the King: the set would be dark colored, with Greek columns
to show a palace

6. Mood and Style Example
This set here
utilizes dark
colors, with
Greek columns
and statues to
show the outside
of a building,
with plenty of
space for
characters to
interact.

7. Realistic from Non-Realistic
• The set designer must differentiate between realism (portrays reality) and
non-realism (depicts surrealistic images).
• In realistic theater, the designer has to make the set resemble the real
setting, but not look exactly like it.
• Realistic or non-realistic, the set has to represent the visual theme of the
play, demonstrating the lifestyle and individual traits of the characters.
• Sometimes, sets only will show parts of backgrounds to show the
appropriate impression.
• Non-realism is all about the symbolism of every item shown on the stage.
• For Oedipus: the set would be realistic, with partial items shown.

8. Locale and Period
• A set needs to tell the audience where and when this play is taking place.
Is it at a house? A beauty salon?
• The background can tell an audience a lot about the time period as well.
For example, spaceships and planets indicate the future, no electric
appliances indicate the past.
• The scene design can describe the type of characters involved too. A
house setting suggests a nice family, a palace would represent royalty.
• For Oedipus: the locale is at the palace of Thebes, where Oedipus and his
family reside. The time period would be Ancient Greek time, in BC.
As a viewer, this type of
setting would indicate
ancient Greece marketplace
because of the architecture
and clothing.

9. Design Concept
• A design concept is similar to
a directorial concept, where
it is a unifying notion carried
out visually.
• When a play’s set is
changing, a design concept is
very important to keep the
viewers centered on the
main idea.
• For Oedipus: the design
concept would involve the
Corinthian columns to signify
royalty.

10. Central Image
• Similar to a design concept,
through a set’s elements (lines,
colors, shapes), a central image
or metaphor is established
throughout the play.
• A designer comes up with this
image or metaphor to exemplify
all traits in the script that the
play is trying to emphasize.
• From this central image, a design
concept can be visualized.
• For Oedipus: a central image
would be Oedipus’ scarred feet

11. Scenery Coordination
• Since the scenery is the visual element of the entire production, the set
designer has to make sure it is consistent with the dialogue, the director’s
concept, and the performers.
• The set designer has to keep the set construction from being an obstacle
to any other department and be effective for its use.
• For Oedipus: the scenery would need to change as the characters move
from outside to inside the palace, which needs coordination.
This set here is very
extravagant with the moving
curtains and flying people.
Without the proper
coordination, this set could
be dangerous.

12. Solving Practical Design Problems
• Physical Layout: the designer must plan to fit everything in the amount of
space given. A ground plan is usually drawn up to physically show how the
set will work. Terminology such as “stage right” or “upstage” help in
avoiding any collisions or accidents.
• Materials of Scene Design: the designer can utilize the stage floor for some
design elements if needed. For scenery changes, it can be on a fly (raised
and lowered), a scrim (a painted cloth), a flat (painted canvas), or a screen
projection.
• Special Effects: the effects of lighting, scenery, and props (property) that a
set designer can manipulate to make it seem unbelievable.
• For Oedipus: a practical design problem could be the scenery change,
which can be solved with any of the above solutions.

13. Light Design

14. • Unlike reading, plays can’t rely on the imagination of the audience.
• The lighting helps set the mood and the scene.
• Just lighting can change the entire feel of the play

15. Visibility
• It allows for the audience to be able to see and identify the actors.
• It allows you to see the set and the props used.

16. Reveal Shapes and Forms
• Lighting can make performers and props look three dimensional while
making background things look two dimensional.
• It can also make people seem more or less attractive, taller, shorter, wider,
etc.
• It also can enhance the set and props.

17. Focus
• Lighting also helps focus the audience’s attention to certain parts of the
stage, performers, or a set piece.
• This “selective visibility” helps the audience not be overwhelmed with the
entire scenery.
• People can focus on the important parts relevant to the current story first.

18. Mood and Reinforcing Style
• Lighting creates moods and emotions.
– Example: Dark scenes create dark moods while bright and colorful
scenes cause happier scenes.
• Mood controlled by lighting helps the audience feel as the director
intended for them to feel.
• It also helps control the ambiance of the scene.
• Lighting helps emphasize the flow of the story.

19. Time and Place
• Lighting helps show the audience what time of day it is or what time of
the year it is.
• It can also show whether the scene takes place inside or outside.
• Depending on the equipment used, the lighting can even show what time
period the play takes place in (1700s, Ancient Greece/Rome, etc.)

20. Rhythm of Visual Movement
• The eye is carried from place to place by the shifting focus of light.
• The subtlest (a candle or flashlight) is often the most useful.
• Good light designers would change the audiences focus without them
even realizing.
– Low angle special would come on diagonally from behind Hamlet’s
Father’s ghost to give a rhythm of movement.

21. Central Visual Image
• The Director and Light Designer both work together to make the Director’s
project come to life.
• Light Director has to make sure that changes in light are smooth
transitions when changing moods and not noticed by the audience.
• The lighting must be consistent with the overall style and mood of the
play.
• Everything works together to create the central visual image of the play.

22. Costume Designer

23. Style of play
• Historical
• Ancient Greek
– Chiton
– Peplos
– Ionic Chiton
– Himation( Cloaks)
– Colorful
– Sandals
• Tragedy
– Clothes should give off feelings of seriousness.

24. Major Characters
• Oedipus- King of Thebes
• The Chorus- Theban elders
• Creon- Oedipus brother in law
• Jocasta- Oedipus wife
• Teiresias- Blind prophet

25. Minor Characters
• Priest- high priest of Thebes
• Boy- attendant on Teiresias
• Messenger- an old man
• Servant- an old shepherd
• Second Messenger – servant of Oedipus
• Antigone- Oedipus and Jocasta daughter
• Ismene- Oedipus and Jocasta daughter
• Servants and Attendants on Oedipus and
Jocasta

26. Oedipus
• Chiton
– Short
– White
– Wool
• Himation
– Red
– Wool
• Colors red represent the anger
Oedipus
feels towards the situation. Also the
blood of his father, mother, and himself.
• Gold fasteners
• Hair
– Brown
– Medium length and Curly
• Accessories
– Gold rings and headpiece
• Sandals
– Brown
– Calf Length
Himation
Chiton
Fastener

27. The Chorus
• Chiton
– Loose
– Black
– Wool
• Himation
– Gray
– Wool
• Dull colors to represent the
seriousness of what the chorus has
to say.
• Silver Fasteners
• Hair
– Mixtures
– Black
– Brown
– Salt and Pepper
• Sandals
– Brown
– Ankle length
Himation
Fastener

28. Creon
• Oedipus brother in law
• Chiton
– Short
– White
– Wool
• Himation
– Blue
• Color blue represent Creon’s calm
nature when handling Oedipus and other
situations.
• Gold fasteners
• Hair
– Brown
– Long and Curly
• Accessories
– Gold headpiece and rings
• Sandals
– Black
– Calf length

29. Jocasta
• Ionic Chiton
– Loose
– Red
– Wool
• Himation
– Gold
• Color red represents her anger from the guilt and
shame of marrying her son. Gold is to show her
status as queen of Thebes
• Gold fasteners
• Accessories
– Golden Broaches (2)
– Headpiece
• Hair
– Long and Curly
– Gold pins
• Sandals
– Brown
– Ankle length
Ionic
Chiton

30. Teiresias
• Old blind prophet
– Cannot see but he can “see” the truth
• Chiton
– Short
– Brown
– Wool
• Himation
– Beige
• Colors represent Teiresias old age
and wisdom.
• Silver fasteners
• Hair
– Short
– Gray
– Long gray beard
• Barefooted
• Accessories
– Sticklike Staff

31. Makeup
• Jocasta
– Natural makeup look
• Nude lipstick
• Pink blush
• Smokey eyes
– Gold
• Oedipus
– Scarred Feet
• Bound as a child
• Foundation
• Black paint
• Brown paint
– Bloody eye makeup
• Blinds himself with Jocasta broaches
• Red paint
• Red food coloring

32. Masks
• The Chorus
– Want the focus to be on the chorus’s words
and not on how many people are talking at once.
– Chorus Leader
• Red Mask
• Talks directly to characters
• Needs to stand out
– Chorus
• White mask
• Needs to be like a single unit

33. Director

34. Director’s Role
• The Director is the person or people who
oversees and coordinates the play
• The purpose of the Director is to insure
smoothness and quality of the production
throughout the play.

35. Script
• The Director chooses the type of writing that
helps supports the style and setting of the
play.
• “Oedipus The King” had a very rich style of
script, to match the setting.

36. Shaping Things
• As a Director, he/ she helps with shaping the
backbone or structure of the production.
• The Director also helps aluminate the theme
throughout all the different design structures
(costumes ect,).

37. Style
• To help support the backbone of the
production, the producer also helps pick a
style that best fits the setting and theme.

38. Directorial Concept
• How the director envisions the play.
• How he/she approaches the play and what
he/she wants the audience to take from it.
• Includes themes, ideas, moods, ect.