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BLEEDING EDGE THEATRE CO.

BLEEDING EDGE THEATRE CO.

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  • Home
  • About Us
    • Meet Us
    • Gallery
    • Code of Conduct
  • Blogs
    • Director & Writer
      • Director
        • 1: Leadership in a Collaboration
        • 2: Be gone with Act One Scene One
        • 3: ‘Bleeding-Lemon’ Collaboration
        • 4: Organising the Creative Process
      • Writer
        • 1: Question | Anchor | Structure
        • 2: Addressing the Audience
        • 3: Add | Remove | Replace
        • 4: Start to Finish
    • Stage Manager
      • 1: Contact Details
      • 2: Schedules
      • 3: Contract and Quiz
      • 4: Risk Assessment
      • 5: Technical Rider
      • 6: Master Cue Sheets & Prompt Script
    • Choreographers
      • Felicity
        • 1: Power of the Ensemble
        • 2: Breaking Free from Limitations
        • 3: Increasing the Role of Visual Language
        • 4: Play and Failure
        • 5: Taking Care of Our Bodies
        • 6: Reflection on our Performance
      • Poppy
        • 1: The Power of Image as Opposed to the Spoken Word
        • 2: Collaboration is Fundamental to Success
        • 3: Reflection of Performance
    • Producer
      • 1: What Sort of Producer Do I Want to Be?
      • 2: Fun-draising
      • 3: Securing a Sponsor
      • 4: Budgeting
      • 5: Five Goals of Arts Council
    • Lighting Designer
      • 1: Exploring initial lighting ideas.
      • 2: Meeting with Martin Rousseau.
      • 3: Evaluation of lighting for the final performance.
    • Composer
      • 1: The Atmosphere of Theatre
      • 2: The Importance of Originality
      • 3: Opening the Performance
      • 4: Accompanying Dialogue
      • 5: Creating the Right Sound
      • 6: A Collaborative Form
      • 7: Sound Design
    • Set Designer
      • 1: The Importance of Communication
      • 2: Initial Thoughts on Set Design
      • 3: The Creation of the Set
      • 4: Reflection of Performance
      • 5: Reflection of Acting Performance
    • Costume Designer
      • 1: Initial Inspirations
      • 2: Physical Movement Costumes
      • 3: Character mood boards to final looks
      • 4: Dress rehearsal
      • 5: Creating Inka’s character look
    • Props Manager
      • 1: Master of Properties
      • 2: Experimenting with Props
      • 3: The Simplicity of Fabric
      • 4: Conceptualising the Crates
      • 5: Boxes, boxes, and even more boxes
      • 6: Evaluating the Experience
    • Marketing Manager & Dramaturg
      • Marketing
        • 1: Digital and Print Marketing
        • 2: Audience Development
        • 3: Marketing Materials
      • Dramaturgy
        • 1: Understanding Dramaturgy
        • 2: My Work as a Dramaturg
  • Our Shows
    • Inka
      • Notes
      • Audience Feedback
      • Technical Documents
        • Sound
        • Light
        • Costume
        • Props
        • Set Design
  • Updates
    • 8th February: Workshop with Flickbook
    • 15th February: Getting on our Feet
    • 22nd February: Opening sequence & Sponsors
    • 1st March: Devising with Props & Tech
    • 8th March: Dramaturgy & Script Writing
    • 15th March: Table Read & Blocking
    • 29th March: Easter Rehearsals
    • BEAUTiFUL Review
    • Police Cops in Space Review
    • The Thing That Came From Over There! Review
    • The Audit Review
    • Education Education Education Review
  • Contact Us
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Set Design

The final set design for Inka.
Stage desig

 

Set Design Budget Sheet

-Esther Morrell Set Designer.

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