Yi-Hsuan (Ant) Ma's Portfolio 2012-2017

SET DESIGN PORTFOLIO YI-HSUAN MA

Graduated from National Taiwan University (NTU) (Taipei , Taiwan) Department of Drama and Theater Set design Website_ http://yihusanma.wix.com/ant-setdesign

馬藝瑄 Yi-Hsuan Ma

CONTENT (1) set design Production P.01___The Balcony (by Jean Genet) P.23___2017 Taiwan Dance Scene-Mixed Program--One dance, one dances, one danced P.27___Blue John (by Birdy Fong) P.33___2017 Taiwan Women Theatre Festival---Oh My GO_D ( ) ESS (by Hsu Peng) P.41___Phaedra's Love (by Sarah Kane) Models P.45___The Maids (by Jean Genet) P.49___Lulu (by Alban Berg) P.55___La ronde (by Arthur Schnitzler)

(2) Exhibition / Props design / Painting P.61___Yue-Lao Cafe P.62___Hsiu (Shoes Studio) P.63___Olay commercial film P.64___RMT studio (Takagism Game) P.65___Sketches

NTU Theatre, 2013 Director: Li Sheng Chang Set design: Yi-Hsuan Ma Lighting design:Pei Yu Lai, Guan Ying Lai, Ze Yi Lai Costume design:Wang Ying Du, Hsin I Hsieh, Shu Han Chen Sound design:Chia Chien Lin, Phie Lee

LA BALCON

by Jean Genet

Prague Quadrennial ofPerformance Design and Space Nominated Taiwan Student Section, 2015 RESEARCH

平面圖(S5)

La balcon / 03

剖面圖(S5)

LA BALCON PROCESS

by Jean Genet

draft model scene5 Iram's rom 1:100

draft model scene6

revolutionary 1:100

draft model scene9

tomb room 1:100

La balcon / 04

STORY BOARD

SCENE 1 __ Bishop room

RESEARCH

La balcon / 05

1:50 Model

La balcon / 06

STORY BOARD

SCENE2__Judge room

1:50 Model

La balcon / 07

RESEARCH

La balcon / 08

STORY BOARD

SCENE3__ General room

RESEARCH

La balcon / 09

1:50 Model

La balcon / 10

STORY BOARD

SCENE5__Iram's room

SKETCH

La balcon / 11

1:50 Model

RESEARCH

La balcon / 12

STORY BOARD

SCENE6__Revolutionary

La balcon / 13

To help audiences connect with the plot of the “revolutionary army” in the The Balcony, I changed the background into one representing Taiwan, where the Sunflower movement had recently happened. This social movement was led by a coalition of students who occupied the Legislature of Taiwan.

1:50 Model

RESEARCH

La balcon / 14

STORY BOARD

SCENE7__death of Torturer

RESEARCH

La balcon / 15

1:50 Model

La balcon / 16

STORY BOARD

SCENE 8 __ Balcony

1:50 Model

La balcon / 17

RESEARCH

La balcon / 18

STORY BOARD

SCENE9-1__Tomb room

鐵橋 +290

RESEARCH

As the play progressed, I had elements of the stage design, such as the red curtains and floor tiles, slowly removed. I spent some ideas at the scenery changing. In the end, all the pieces of scenery and stage props had been stripped away, exposing the fragmented prototype of the theater. In other word, illusion and reality are combined gradually through the role playing. Nothing to care about, neither it's real nor fake.

La balcon / 19

1:50 Model

La balcon / 20

STORY BOARD

SCENE9-2__Iram's room（Closed）

SKETCH

La balcon / 21

La balcon / 22

National Experimental Theater, 2017 Dancer : Wu-kang Chen. Ming-hwa Yeh. Yu-Ting Fang Set design：Yin-chiao Liao. Yi-Hsuan Ma Lighting design：Tian-Hong Wang Photo credit：Weichia Su

2017 Taiwan Dance Scene--Mixed Program

One dance, one dances, one danced

by Chen Wu-Kang

2017 Taiwan Dance Scene-- Mixed Program RESEARCH

CONCEPT W i t h Yi n - c h i a o L i a o , w e t r i e d to focus on the dancer's body while dancing and visualise the choreographer's traces on t h e s t a g e b y h av i n g t h e d a n c e r s dancing on water-written cloth, a kind of white textile on which water leaves traces i n b l a c k , l i k e c a l l i g r a p hy.

One Dance / 25

One dance,one dances, one danced

by Chen Wu-Kang

When the naked dancers sweated and made movements on the cloth, they left traces on it as if they had “printed” their bodies and movements on the stage.

Th e a u d i e n c e e x p e r i e n c e d t h e p r o c e s s o f the performers exploring their bodies and witnessed the creation of the ink painting.

One Dance / 26

NTU Theatre, 2015 Director：Ruby Sam Set design：Yi-Hsuan Ma Lighting design：Pei Yu Lai Costume design：Ying Ying Lin Sound design：Nai Yu Cheng

BLUE JOHN

by Birdy Fong

RESEARCH

CONCEPT In the Lu Ming Hall (NTU theater) , using the original architecture, such as tress, steel s t a i r, p l a t f o r m .

I created the live club with the industrial style design.

Fo r t h e s e n s e o f p r e s e n c e a n d i m m e r s i v e t e n d e n c y o f a u d i e n c e , I c h a n g e d t h e a u d i e n c e seat to chairs and tables from the club.

M o r e o v e r, t h e m o s t i m p o r t a n t c o n c e p t , I s e t t h e t o w e r w h e r e i s t h e c o n n e c t i o n b e t w e e n t h e story said by the aside, and the plot really happened in this minutes.

Just like someone always see all of them; like the playwright who wrote down the love s t o r y o f S p i c y.

Blue John / 29

PLOT SUMMARY

Blue John

by Birdy Fong

I n t h e b e g i n n i n g , a t a l k s h o w a c t r e s s , S p i c y, p e r f o r m a n c e s o n t h e s t a g e , t a l k i n g a b o u t h o w she met John.

T h e s e c o n d s c e n e , K e n n y, a n e w c h a r a c t e r a s a n a s i d e , t a l k i n g a b o u t w h a t h a p p e n e d between Spicy and John after Spicy’ s talk show ends.

As a saxophonist, John was a stammer but good at translating his feeling by music. Spicy f e l l i n t o a n i n c r e d i b l e r o m a n c e w i t h J o h n i m m e d i a t e l y.

John wanted to chat with Spicy like a normal person, so he left Spicy for a treatment abroad.

K e n n y t o l d S p i c y t h a t e v e r y t h i n g s h e c o n s i d e r e d a s a n i m p r o m p t u l o v e s t o r y, a c t u a l l y w a s J o h n ’s s c r i p t . J o h n i s n o t o n l y a p e r s o n S p i c y l o v e d , b u t a l s o a c r e a t o r o f e v e r y c h a r a c t e r.

N o m a t t e r h o w h a r d S p i c y w a n t s t o h av e a n i m p r o m p t u l o v e i n h e r l i f e , i t ’s d e p e n d o n t h e plot John wrote.

Blue John / 30

STORY BOARD

RESEARCH

Blue John / 31

1:25 Model

Blue John / 32

National Experimental Theater, 2017 Director: Peng Hsu & Sih-Huei Du Set design: Yi-Hsuan Ma Lighting design: Yu-Ling Hsu Costume design: Yi-Zong Zhang Photo credit: biggggggggger​＆ MEI-SIN WANG Photo provided by Taiwan Women Theatre Festival

2017 Taiwan Women Theatre Festival

Oh My GO_D ( ) ESS

by Hsu Peng

Oh my GO_D ( ) ESS

by Hsu Peng

PLOT SUMMARY Christians believe that Mary, mother of Jesus, conceived her son while still a virgin by the holy spirit. But the playwright and director, Peng Hsu, tries to interpret this well-known “miracle” in another way, asking what if Mary never loved Joseph, the man believed to be Jesus’ human father, instead, she fell for a butch living in 2017 Taiwan? To go even more provocative, Peng Hsu made one of the male characters pregnant since Mary can give birth to a child as a virgin, why not man? The play also depicts tensed relationship between a Taiwanese mother and her lesbian daughter as well as the daughter’s struggle over her open relationships. In the play, the two worlds between the gods and the men are first separated, then it is because of the searches of desire that mark the merge of the two at the end of the play.

RESEARCH

Oh my Go_d / 35

2017 Taiwan Women Theatre Festival

Oh my Go_d / 36

STORY BOARD

At the beginning, I covered the whole theater with kind of plastic wraps.

It is a metaphor for an embryo from a mammal. When the play started, actors took off those plastic wraps, indicating that the characters were born from the sky (fake clouds) and turned into humans. Every actor would stand on a fragment of the plate if being a character, otherwise, they can move freely on the stage. The broken plates symbolize their loneliness. When they tried to communicate, they moved the plates closer to one another. If they were refused and wanted to escape, they took the plates away to be isolated. And I used eight thousand blue ping pongs to express the image of flood.

Oh my Go_d / 37

Oh my Go_d / 38

CONCEPT

As the play moves on, those theatrical elements would b clouds and the plastic wraps. Soon the theater would exp blue balls and the broken plates. At the end of the show, recombined into a big bed, where desire rests upon. The ac this would be their only way to survive through the biblical c

Oh my Go_d / 39

be taken out, including the fake pose its prototype, leaving only all the pieces of plates will be ctors then stepped on it, knowing catastrophe.

Oh my Go_d / 40

NTU Experimental Theatre, 2014 Director：Shao Tong Lian Set design： Yi-Hsuan Ma Lighting design：Chiao Yu Chen Costume design：Ying Ying Lin Sound design：Chia Yu Ai

Phaedra's Love

by Sarah Kane

RESEARCH

CONCEPT In the scene, the trial at the square, I set the two-sides stage, so that the audience felt like they were watching Hippolytus who got torn in the square.

When Hippolytus was torn, hundreds of red balls rolled off to the auditorium.

Th e a u d i e n c e c o u l d p i ck u p t h e ball and throw it on the stage or they indifferently let the balls r o l l s b y. A n d t h e n , t h e v i n e s behind the auditorium turned bright, following the hover of vultures, going to another more hopeless place.

Phaedra's Love / 43

Phaedra's Love

by Sarah Kane

Phaedra's Love / 44

The Maids

by Jean Genet

1:50 Model

The Maids

1:50 Model

by Jean Genet The Maids , which has incredibly long scenes of role-playing, where one of the maids pretends to be the Madame of the house, and they start to act out their increasingly violent revenge fantasies.

But then it becomes increasingly obvious that the fantasy is becoming more and more real, that the maids themselves are losing the ability to tell what is real and what is a game.

Maids / 47

RESEARCH

Maids / 48

LULU

by Alban Berg

1:50 Model

RESEARCH

Prologue A circus animal tamer welcomes the audience and describes the various animals in his menagerie, such as tigers, bears and monkeys.

Act1

Scene 1: A spacious but shabby artist's studio. A podium, folding screen, easel with u n fi n i s h e d p o r t r a i t o f L u l u , d i v a n w i t h t i g e r skin, step ladder and sculpture.

LULU / 51

LULU

1:50 Model

by Alban Berg Act1

Scene 3: In Lulu's dressing room in the theatre, a folding screen upstage.

Act2

S c e n e 1 : I n L u l u ' s h o u s e , a m a g n i fi c e n t German Renaissance style room with a gallery and staircase.

Act3

Scene 1: A spacious drawing room in L u l u ' s l u x u r i o u s h o u s e i n Pa r i s .

Lulu's portrait hangs on the wall.

Act3

Scene 2: A windowless garret in London, with a leaking skylight. A bucket collects water d r i p p i n g f r o m t h e s k y l i g h t . O n t h e fl o o r a t o r n mattress.

LULU / 52

PROCESS ver.1&2 model 1:100

Act1

Scene 1: A spacious but shabby artist's studio.

draft model 1:100

Act1

Scene 3: In Lulu's dressing room in the theatre

draft model 1:100

Act2 Scene 1: In Lulu's house

LULU / 53

ver.1~4 model 1:100

Act3

Scene 1: A spacious drawing room in Lulu's luxurious house i n Pa r i s .

draft model 1:100

Act3

Scene 2: A windowless garret in London, with a leaking skylight.

LULU / 54

LA RONDE

by Arthur Schnitzler

Scene7: The Little Miss and the Poet

1:50 Model

LA RONDE

1:50 Model

by Arthur Schnitzler

RESEARCH

Scene1: The Whore and the Soldier La ronde / 57

Scene8: The Poet and the Actress

Th e p l ay s e t i n t h e 1 8 9 0 s i n Vi e n n a . I t s d r a m a t i c structure consists of ten interlocking scenes between pairs of lovers. Each of its ten characters appears in two consecutive scenes ( w i t h o n e f r o m t h e fi n a l s c e n e , Th e W h o r e , h av i n g a p p e a r e d i n t h e fi r s t ) .

Scene10: (back curtain open---the street in Vienna) The Count and the Whore

S c e n e 4 : T h e Yo u n g G e n t l e m a n a n d t h e Yo u n g Wife

Scene9:The Actress and the Count La ronde / 58

PROCESS

draft model 1:100 S c e n e 1 : Th e Whore and the Soldier

draft model 1:100 Scene4: Th e Yo u n g Gentleman and t h e Yo u n g W i f e

La ronde / 59

draft model 1:100 S c e n e 9 : Th e Actress and the Count

draft model 1:100 S c e n e 8 : Th e Po e t and the Actress

draft model 1:100 Scene10: (back curtain open--the street in Vi e n n a ) Th e C o u n t a n d the Whore

La ronde / 60

___Yue-Lao Cafe ___Hsiu (Shoes Studio) ___RMT studio (Takagism Game) ___Olay commercial film ＿ Sketch

Exhibition Props design Painting Sketch

Yue-Lao Café A牆 _平面圖

A牆 _平面圖

木構景片540*250cm，厚度不拘 景片後面會結合30*30*30cm木箱 30*45*40cm木箱共5個

大小尺寸相同，高度參照剖面圖 ㄇ框下面不封，讓觀眾把頭鑽進去 牆面會鑽洞(直徑R=8cm)，讓觀眾從小洞裡看到背後小盒子裡的場景

木構景片540*250cm，厚度不拘 景片後面會結合30*30*30cm木箱

五個小木箱內可能會 有小燈泡照明，吧台 區也會需要吊燈，至 少共六個插座。

30*45*40cm木箱共5個

大小尺寸相同，高度參照剖面圖 ㄇ框下面不封，讓觀眾把頭鑽進去 牆面會鑽洞(直徑R=8cm)，讓觀眾從小洞裡看到背後小盒子裡的場景

A牆 概念參考圖

A牆 概念參考圖

五個小木箱內可能會 有小燈泡照明，吧台 區也會需要吊燈，至 少共六個插座。

30*30*30cm 盒內小場景概念參考圖

30*30*30cm 盒內小場景概念參考圖 540.0

540.0

30*30*30cm木箱共5個 大小尺寸相同，高度參照剖面圖 等設計將盒子裡面set好再固定到牆面上

30*30*30cm木箱共5個 大小尺寸相同，高度參照剖面圖 等設計將盒子裡面set好再固定到牆面上 40.0

30*45*60cm木箱固定牆後

40.0

30*45*60cm木箱固定牆後

牆面挖洞做為信箱，讓觀眾丟進紙條 外面做把手可拉開來看別人的紙條

B牆

720.0

牆面挖洞做為信箱，讓觀眾丟進紙條 外面做把手可拉開來看別人的紙條

490.8

B牆

720.0 490.8

空間配置_平面圖

180.0

空間配置_平面圖

咖啡廳桌椅形式不拘，可找庫存 180*60*76cm的桌子與六張椅子 60.0

180.0

B牆 概念參考圖

咖啡廳桌椅形式不拘，可找庫存 180*60*76cm的桌子與六張椅子 60.0

540.0

B牆 概念參考圖

540.0 200.0

吧台形式不拘，可找庫存 200*35*100cm的方形cube 35.0

40.0

B牆 490.8

200.0

35.0 40.0

可開式門，門板型式會 再附上設計圖

B牆 490.8 720.0

more / 61

720.0

吧台形式不拘，可找庫存 200*35*100cm的方形cube

可開式門，門板型式會 再附上設計圖

Hsiu

Shoes Studio

more / 62

Takagism Game

RMT Studio_painting project

more / 63

Olay Commercial Film

more / 64

Sketch

Scanned by CamScanner

more / 65

more / 66