“The intention of the production design of 2 One Another is to frame the action, while my intention as costume designer is to get out of the way of that action while simultaneously dressing it.” (Tony Assness)
We had a brief chat with Production Designer Tony Assness about his process for deciding on and creating the screen set for 2 One Another, here’s what we discovered:
Why did you and Rafael decide to use a screen with imagery for this production?
Rafael and I had a great time discussing ideas and possibilities very early on. We talked and looked at a lot of things and I sent him things that I thought he may respond positively to. It was through this rather organic and casual exchanging of ideas that the idea of a screen came up. There are a lot of reasons why we decided to use this screen, one of them is to make a great show, one that has a certain visual impact, one that will delight and move an audience. The screen is very large, physically filling the entire back of the stage (16m wide by 5m high), for me it supplies a context for the dancers. The white floor plus the screen creates a space that showcases and etches out the dancers bodies in the most powerful and thrilling way I believe possible.
What is the connection between the movement on stage and the images on the screen?
My goal is for the screen to work perfectly with all the other elements – screen, lighting, costumes, music and of course the dance are all integrated and working as one. Everything that is happening around the dancers is connected, inspired and triggered by them and the choreography. All the imagery that is displayed on the screen is inspired by sitting in on the rehearsals as an observer. On one level the screen and images are simply a backdrop, but on another level we are aiming for a certain visual poetry that enhances the experience of watching the dance
2 One Another, Only in Sydney
5 – 14 October