The Red Shoes Flashcards
How costume, hair and makeup was used in two key moments - structure of answer
- Introduction explaining the play/style of performance/staging etc
- First moment = Mariella at the dinner scene where Karen is dancing
- Second moment - when Karen dances with the Prince
How set design is used in two key moments - structure of answer
- Introduction talking about the style, genre, thrust staging etc.
- First moment = the dinner scene
- Second moment = the dressing room scene
Points to include for an introduction about ‘The Red Shoes’
Performed on a thrust stage
12th November 2024
set and costume designer = Colin Richmond
dark fairytale in the dead-pan style of the Grimm brothers - serves as a cautionary fable
dance is a focal point
What type of lighting is used in The Red Shoes?
Stylised
Non-naturalistic - magical effect
What is the first moment to talk about for lighting?
scene = Karen is mourning her mother
from upstage, there is a low intensity, electric blue wash
successfully creates an eerie atmosphere - lit from the back is significant as it is symbolic of an impending sense of danger
colour blue = often a symbol of trust, responsibility and bravery - foreshadows Karen will learn to embrace and trust her instincts - perhaps trust too heavily in some
lighting the smoke machine created an ethereal effect, mimicking how Karen feels when she begins to dance - audience begin to feel sympathy for her and her ambition
harsh, intense, white follow spot - segregates her almost from the scene, reflects how her acclaimed vanity and strange ambition isolates her , and could convey the harsh severity of her grief through the high intensity of the light
ultimately, contrasts her awful situation and her passionate grief, how she is left alone - lighting gives the dance a more explosive feel, supposed to shock the audience as it shocks the Nugents, growing intensity
Second moment for lighting
blue is now lit from the front and back
fresnel highlights Karen dancing as she wears the new shoes in the dressing room - fresnel is warm, cream colour, low intensity - increased by practical lights on the vanity mirror which reflect the purity of her hopes and dreams, the warmth she feels when dancing
however a vast shadow is cast from the back -reflects the consequence of her indulging in vain dreams, shadow isolates her from the blue to emphasise she is still isolated, all though she has a new family
First moment for staging
- dining room scene (hosting charity dinner)
- floor is made of diamond tiles, alternating between red and a deeper scarlet colour
choice made by designer because the colour scheme is reminiscent of the ‘Queen of Hearts’ in Alice in Wonderland, and this is a play drawing on tropes from fairytales
atmosphere of fear for the audience - realise the evil Karen is surrounded by
centre stage is a long, narrow table positioned on a diagonal where the dinner is taking place
twelve symmetrically placed chairs with a shining gold appearance and cushioned red seat
use of gold communicates wealth and luxury - how desperately Mariella wishes to show off her wealth and achieve status
upstage centre = large painting of M and B Nugent which becomes focal point of set
this appeared to rise up from under the stage and revolved to be a mirror for the scene - reminds us of their overwhelming vanity
reinforces how isolated Karen is, because Mariella is so vain she can’t sympathise with anyone outside of herself
scale of props/colour communicated vanity
Second moment for staging
Dressing room scene = Mariella preparing
upstage centre is a mirror, covered with dust on the edges and framed with dotted lights on either side reminiscent of a Hollywood vanity mirror
modern allusion to fame and fortune = delusional aspirations, inflated sense of self due to scale
talking mirror - makes her appear more villainous and jealous and refers to the Evil Queen in Snow White
flanked by two clothing rails - face diagonally towards the mirror, metal and painted gold
covered with shoe boxes, identical green suit covers
match Mariella and Bob’s dress
obsession with materialism - prevents her from valuing Karen’s unique nature and ambition - relationship is doomed, doesn’t have capacity to care
centre stage = green, double ended chaise longue - made from a velvet fabric and supported by thin, curved gold legs
style is outdated allusion to the Edwardian period, creates impression that Mariella’s views are outdated on money
also reminds us that the original sentiment of the play is also outdated
poignant warning about obsession with materialism, tribute to the doom of women like Karen who dared to be ambitious
First moment for costume
Mariella wears a pear-green silk dress with gloves and a high-collared neck
lighter shade of green visually juxtaposes the darker, richer shades of green worn by other guests present
immediately shows Mariella doesn’t fit in with high society - foreshadows evening will take a turn for the worse
shade of green = envy of Mariella when Karen is dancing with her husband/attention Karen is lavished with
green = complements her long, flaming red hair to make it stand out more
envy is one of her most defining motives
makeup:
bold red lipstick
words she speaks at the party about how much she loves Karen are dangerous lies
passion of desperation to impress
envy and ambition for social status drives actions
Second moment for costume design
Karen dances with the Prince in her red shoes at the ball
cut short and harshly dyed red - subverts typical femininity and expectations by cutting short hair
stylist may want the audience to see her as a character who boldly rejects limitations placed on her
red hair is emblematic of relationship with Prince - passionate, dangerous, foreshadows downfall, heightens stakes
dressed in a white dress feathered into a long tutu below the waist (and her red shoes)
juxtaposition of her formidable/exotic shoes and the purity of a white dress, reminds us she pursues ambition innocently
evokes sympathy for tragic punishment
tutu alludes to ballet, shows Karen wants her style/passion of dancing should be accepted in high society
hope for future and diversity of dance
