Design

verity healey considers the Battersea Arts Centre’s new Courtyard theatre space and inviting an audience to participate in the performance through interaction with the performance space.

Jess Barbagallo and Chris Giarmo discuss design questions for Jess’s play My Old Man (and Other Stories) and the recently increased interest in trans artists.

Chicago-based costume designer, textile designer, and wardrobe stylist Elsa Hiltner considers the division of labor and allocation of technical support within theatrical design.

Sound designer Victoria Deiorio reflects on her experience of Complicite’s The Encounter and its ingenious use of sound. 

In this installment, Daniel Fine continues his discussion on the intersection of lighting and media design.

Zachary Small calls for theatre to move beyond the living room play and explore the technological realm.

Scenic Designer Stephanie Kerley Schwartz shares her process for designing Henry Murray’s Treefall, which inspired her to work on HeatWave, a project connecting environmentalists and theatre artists.

In this installment, Daniel Fine discusses working with lighting designers, explaining how color temperature and palette, and brightness of projections impact the media design for a production.

In this installment of La Esquinita, puppeteer Stephanie Diaz shares her journey to puppetry and discusses her creative process.

Porsche McGovern unveils the results of the latest phase of her study of LORT theatre designers. 

In this installment, Scenic Designer Tara Houston shares her journey to discovering her career and offers advice on lessons that she’s learned along the way.

In this installment, Dan Fine continues his discussion about the intersection of media and scenic design, further examining production needs and considerations.

How does Air Force One end up as a backdrop for a presidential debate? Bryce Cutler, a scenic and media designer, considers stage design for presidential debates.

Costume Designer M.L. Hart parallels the principles and concepts of costume and makeup design to body modification.

In this installment, Daniel Fine discusses the relationship between the scenic designer and media designer, advocating direct collaboration earlier in the production process.

In this installment, Scenic and Costume Designer Arnulfo Maldonado discusses his process and working relationship with Director Ken Rus Schmoll.

Christina Cook describes her transition from an MFA program into life as a freelance designer.

In this installment, Dan Fine discusses his background in directing and offers suggestions for directors working with media designers.

In the first bilingual installment of the series, Tara Houston profiles Lighting Designer Pablo Santiago about his inspiration and process.

Brad Rhines reviews Cosmin Chivu’s revival of Tennessee Williams’ The Mutilated at the Contemporary Arts Center in New Orleans.

Scenic designer Joe Klug considers how the proscenium stage impedes engagement and connection with an audience.

In the second installment, Regina García profiles Costume Designer Courtney Flores, who discusses her working relationship with Campo Santo.

Emerson College student Andrew Siañez-De La O writes about RareWork’s Theatre Company’s production of Caridad Svich’s Alchemy of Desire/Dead Man’s Blues.

In this seventh installment, Daniel Fine continues discussing workflow, highlighting key elements for media design in the production process.

Director Lisa Bohn discusses her experience collaborating with designers for a production of You’re a Good Man, Charlie Brown.