(It's dramaturgy, not thaumaturgy.)
Main Entry: thau·ma·turg
Etymology: French, from New Latin thaumaturgus, from Greek thaumatourgos working miracles, from thaumat-, thauma miracle + ergon work — more at Theater, Work
The official blog of the Dramaturgy Department at Baltimore's CENTERSTAGE. For posts related to our current and upcoming shows, click the links to the right. Alternatively, you could begin at the beginning, and explore our posts in chronological order.
Making theater magic, the new-fangled way. Shooting miniatures for projection in the #Enemy of the People set at CENTERSTAGE. Miller, Ibsen, and the power of digital media. Look at that model; can’t you just feel the Nordic nip in the air?
A little perspective on Poe. The stage for …Poe, that is (click for more on the production at CENTERSTAGE).
This was Woods. Now it’s not…. Back to the Empty Space again.
Daniel Ettinger’s scenic design, in elevation and in model view, for the upcoming Second City show at CENTERSTAGE, Charmed & Dangerous.
Close(r) up on the set for Second City. Those are painted screens, if you could see them clearly enough. A distinctive local phenomenon—which the production crew got to explore and research in depth on a field trip to Federal Hill and South Baltimore, including the generous help of the American Visionary Art Museum (AVAM) as well. Thanks to founder Rebecca Hoffberger and the marvelous Felice Cleveland, they threw open their doors not just to the writers, TJ and Megan, during the immersion, but also to our scenic painters and other staff. Hope we did them proud.
More truly wonderful work from the production departments—in this case a gorgeous collaboration among Jen Stearns, our Props Mistress, who designed this set for Second City, the scene shop who built it, and Scenic Artist Ruth Barber and her team who made it look like the spitting image of a row of Baltimore row homes. Squint, and you could be on any of hundreds of typical Charm City streets….
Some snaps from last week, as the set and lights (and sound, though you can’t tell from the stills of course) were all getting layered in for the production of Ma Rainey’s Black Bottom. Nice Chicago sound studio ca. 1927—with the abstract addition of song titles from Madame Rainey’s hits, all over the walls. An interesting, albeit likely unintended, in-house call-back to Romeo and Juliet many seasons ago, and Misalliance somewhat more recently.
So, a next step (while actors were busy upstairs getting their accents right and learning dance steps) was to start painting the Pearlstone stage and installing the scenic elements….