Studio 2: Inspiration Over Christmas: The Lion King

In my feedback of my Autumn Assessment it was suggested that I move my practice towards sculpture and video. Yesterday I went to see the musical “The Lion King” and was greatly inspired by the costumes, props and set. I brought the brochure of the musical, which gives detail in written form, photography and illustration into the artistic influences of the musical and the genius behind it all, Julie Taymor, and her collaborator Michael Curry.

I am particularly fond of her use of typical human maquettes to explore different ways of conveying the animals through costume.

This is a downscale of my favourite prop. It is reminiscent of the industrial revolution, however because this is a musical based on Africa, my incentive is to push the dates forward to the early 1900s. The device is used to make antelopes jump across the stage. I am definitely interested in creating something similar.

Taymor goes to great lengths to reflect the African and Asian culture within her creations. With Rafiki, the mandrill monkey, Taymor recreates the basis of a sangoma (spiritual healer and shaman in South Africa) through the elongated fingers, face painting, and the detail in the costume from beading, ornaments, and traditional sangoma trinkets.

The focus of Mufasa, Simba’s father, was to show him as a Sun God. His head piece acts as both a crown and a mask. The symmetry within his costume represents his understanding of balance within the natural order, or within The Circle of Life. Everything about his appearance is based on traditional Maasai warriors, with his swords doubling as legs or claws when he is ‘on the prowl’.

Zazu

Scar

Timon and Pumbaa

Young Simba and Nala

Adult Simba and Nala

Richard Hudson – Scenic Design

Michael Ward – Hair and Make Up

Donald Holder – Lighting

Lebo M – Sounds of Africa

Studio 2: Project IV: Autumn Assessment: “La Torta” Performance

Studio 2: Project IV: Autumn Assessment: Setting up the Performance II

The red insulation tape was stuck down in a figured of eight to maximise the use of space available. Walking in circles will also make it hard for me to focus on direction. The audience will be asked to spread out around the tape and as I am lead around the tape, when I come to a member of the audience the will be asked my Charlotte to cut a slice of cake for themselves. I will finish the performance behind the plinth that the masks stand on. I will be facing the same way at the masks so that I can take off the mask and place it back on the stand before turning and leaving. 

 

Studio 2: Project IV: Autumn Assessment: Setting up the Performance

Originally I set up my performance props in a corner/ against a wall underneath the tea stained-like ‘sun roof’. 

After having a short discussion with my tutor it was decided that the best to present my performance would be to set up the props in a theatrical manner. This way I utilise the available space most effectively, including the tint in the light given from the ‘sun roof’. Once the floor is cleaned tomorrow I will be able to lay out the route of my performance with the red insulation tape. 

Studio 2: Project IV: Autumn Assessment: Performance Rehearsal: Cutting the Cake: Feedback

As payment for Axel’s help with creating the promotion for my performance I offered him some cake, but there was one condition: he would have to cut the cake whilst I was wearing it. The knife slid though the icing and cake easily enough but he was very nervous about cutting my head. To me it felt incredibly painful as the force of cutting the cake, along with the weight of the cake and mask pushed down against my head and neck. It was very difficult to keep steady as he cut the cake. I am now wondering just how painful my performance will be. His reaction to seeing the colouring of cake was “Oh shit! It’s red!”, along with gasps and similar comments from the passing spectators. This is good because he has never witnessed one of my performances, and the added shock of the colouring mixed with the awkward act of cutting the cake on my head was effective. When the edible photograph is added this shock value to increase even more. After other people had sliced the cake for themselves the overall feedback was that the icing was too thick and that they were worried they would press to hard and cut into my head. For safety reasons I will roll the icing thinner for the performance.

 

Studio 2: Project IV: Autumn Assessment: Performance Rehearsal: Cutting the Cake

A short video of the second slice cut from the rehearsal cake.

Studio 2: Project IV: Autumn Assessment: Successful Rehearsal Cake

The Cherry Red food colouring finally arrived in the post and I was able to create a cake with the correct colouring. 

First of all I followed the basic sponge recipe previously used: weighing eggs, creaming the butter and sugar, mixing in the egg and vanilla essence. After this I added 2 teaspoons of the Cherry Red food colouring and mixed it thoroughly. 

I was happy with the vibrancy of the colour and so went on to mix in the flour which thickened the mixture. 

The mixture was then poured into the tin and left to bake at 180 degrees celsius for 35 minutes. 

 

Studio 2: Project IV: Autumn Assessment: Arrivals

Today my edible photograph arrived in excellent condition and quality along with clear instructions of how to use it. My red insulation tape arrived as well.

Studio 2: Project IV: Autumn Assessment: Promotion

Today in our Critical Collaboration Methods lecture we learnt about the history development of posters and promotion. I was particularly struck by Mucha’s Art Nouveau champagne promotion, however I did not feel the style was relevant and so looked into promotion throughout the 1900s. The era that stood out to me as most relevant was the style of the 1950s promotion. Please click here to find a collection of promotion I have gathered from this decade to inspire my own.

As illustration is not one of my strengths, I asked two of my peers to create an illustration of me from the original performance, in the style of the 1950s posters. 

The one on the left was created by Daisy Evans who is in Studio 1. The one on the right was created by Grace Harrison who is studying at Central Saint Martins. 

Daisy then suggested I collaborate with Axel Manasco from Studio 1 who has experience in graphics. I contacted him and showed him the images and my research. From this information and reviewing he created a variety of posters for me to advertise my performance.