MARTHA LUCIA PENARANDA SCENE DESIGN
AGAMEMNON
HAMLET
FEFU AND HER FRIENDS
THE FOUR HORSEMEN
A DOLL’S HOUSE PART 2
STUPID F* BIRD
ER RIGET RIGT
Could you Please look into the Camera?
BALM IN GILEAD
Caravaggio’s paintings, notable in their crude drama and harsh severity, act as a connecting thread between the play’s biblical references and the human quest for redemption it depicts. They capture the grit and struggle of life in New York City during 70s. The panel of paintings is cut in the shape of New York City skyline. (2012)
FLYIN’ WEST
Civil War fugitive slaves who were emancipated upon reaching the North, Virginia, mid 1860s. HultonArchive/GettyImages
The freed slaves are a powerful presence throughout the set. The above photograph was reproduced by hand on a series of screen panels, such as the one on the left, and encloses the space. As the lighting changes, the images disappear and reappear. (1998)
FAT PIG
The set is intended to highlight the warmth inherent in the soft, nurturing curves of a larger woman’s body. When I came across this article in the National Geographic magazine, the photographs remind me if the sand dunes in its rounded contour and supple strength and beauty. (2009)
All photograph were original work made in collaboration with photographer artist Marcella Hackbart for this project.
TRUE WEST
Acock fight arena is the concept behind the set ofTrue West, the story of a sibling rivalry.
The audience watches as two estranged brothers confront each other, alone in their mother’s house. (2008)
AS YOU LIKE IT
The Forest of Arden was created through a series of photographs that slide forward during different scenes, creating surprising entrances and exists for the characters.
All photograph were original work made in collaboration with photographer artist Marcella Hackbart for this project. (2003)
HEDDA GABLER
RESEARCH
BALM IN GILEADCONFERENCE OF THE BIRDS
RESEARCH
A FLEA IN HER EAR
A Farce is like a well-oiled Golberg machine. A string of consecutive events creates havoc via a series of disastrously orchestrated misunderstandings. As the situation escalates, the pressure and absurdity intensify. (1999)
The mechanism of the Farce is represented through a series of animated panels depicting black & white Victorian engraving illustrations.
Could you Please look into the Camera?
THE THANKSGIVING PLAY
