Scenic Design for Pippin Open Access
A production like Pippin, having been modified with each rendition to remain sociallyrelevant, poses a challenge as a show assignment for a Masters Thesis Scenic Design.Multiple Broadway budgets provided former Scenic Designers of Pippin withopportunities that the collegiate level can’t compete with. Dreaming up big ideas on amodest budget and timeline would be one of the many hurdles faced in designing Pippinat The George Washington University. Pippin was to be directed by a guest artist,Roberta Gasbarre, in the fall of 2016. The scenic design for Pippin would serve as thethesis show for my Masters in Fine Arts focusing in production design. Fellow Designerson this production were Professor Carl Gudenius (Lighting), Professor SigridJohannesdottir (Costumes), and Aria Nawab (Sound). Upon meeting with the Director, Ilearned that the additional challenges I would face would be finding a common languageamong the Design Team, interpreting directorial requests, and determining how thedesign elements would function, while keeping the production attainable. With all of thisin mind, how do you create a theatrical environment that can support the Director’svision for a coalesced production of the original and remounted versions of Pippin?
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