Assistant Professor of Theatre Design
He served as the technical director of the Summer Repertory Theater, Santa Rosa, CA for three years before joining StageWest in Springfield, MA, where he was technical director, scenic designer and artistic associate. With more than fifty designs to his credit Peter's work includes scenery for Equus, Riches, Closer, Venus, and BFE as well as lights for The Ride Across Lake Constance, Riches, Unplugging and Bind Their Wounds at Hampshire College. Other professional and summer stock design credits include the Miniature Theatre of Chester, Summer Theatre Mount Holyoke, Worcester Foothills Theater, New London Barn Playhouse and Summer Theater at Meredith Village. Peter has served as designer and fabrication consultant respectively for WALA Heimettel, International, and AGH Design. He designed and fabricated scenic elements for Popa Depot for HERE'S American Living Room Series.
Peter is actively involved in Hampshire's DART (Design Art and Technology) Program. He is focused on design driven performance. Peter has worked with students developing and presenting performance pieces reflecting on trauma, a photograph, control, and a piece of thread. Peter's current project is based on memories of working in a DDT plant and Rachel Carson. In addition to scenography Peter teaches courses in light art and in exploring performance spaces.
Designers, choreographers, and performers frequently face a traditional empty space or, as is often the case, face a nontraditional space and then question how to "fill" or design within it. What elements help create the functionality and appropriateness of a performance space? We will explore a variety of spaces, western, non-western, traditional, non-traditional, and the "performers" who use or have used them. We will then look at the theatre design disciplines, such as scenery, lighting and costumes, and examine the ways they serve the text and/or vision of a performance piece within a particular performing space.
What draws us to the light? What is the depth of our connection? We use light as a mode of artistic expression: to illuminate, to underscore, to surprise or intimidate. Why? We enter our exploration of light through the study and practice of theatre lighting design. After gaining a firm grounding in the process of lighting for the stage, we will consider how light is used in dance, music, and installation art. Through the study of how light defines and reinforces line, movement, texture, scale, and color, we gather skills and techniques that inform our own personal use of lighting design. Students will experiment with light manipulation in class and work on group and individual projects throughout the semester.
Using MONEY PLAY, devised and written during Fall 2014, as our main vehicle of investigation, students are introduced to the processes of theatrical production. This class will examine the collaborative nature of theatrical arts by working in concert with "Ensemble Production" IA0324 creating and executing the production and run of MONEY PLAY. Mentored by Division III and Division II Theatre Designers, students will participate in the design and construction of scenery, costumes, and props. Students may also explore, depending on the needs of the play, sound and video projection design and execution. This class not only offers students experience in designing and building the visual and aural elements of the production, but also offers them the opportunity to participate on the running crew during the performances. Each student will become a part of the entire production experience. Students will be expected to commit to evening hours during the performance dates.
When designing costumes, projections, sound, lighting, props, or scenery, do theatre designers read plays any differently than a director or an actor? Should they? When reading a play, to what does a designer respond? Theme, character, dialogue, stage directions, place, time, rhythm, flow, and arcs all play into a designer's process of discovering the visual and aural possibilities of texts. How does a designer sift through the body of a script and discover clues of the physical nature of the play? This course focuses on reading plays with design in mind. We will read and discuss selected plays. Students will research period and aesthetic styles, lead discussions, present initial design ideas for each play, and work in design teams. Throughout the semester students will expand their design vocabulary and experiment with design presentations.
There are processes designers in the theatre must undertake to realize the physical world of a play. Within the performing arts no single aspect of design exists in isolation and no designer should fly solo. Moving through a series of individual and group exercises, students will begin to develop their own process toward expressing the passion of a theatre work through their designs. Throughout the semester students will develop a design vocabulary that allows for collaboration and interplay, while producing unified and coherent design work. This semester particular emphasis will be placed on scenic and costume design. Students will be introduced to the tools of design communication: drafting, models, rendering, etc. as they learn to discuss and to respond to performance works.
Working collaboratively and individually, students will undertake a series of design exercises as they work toward shaping performances that are inspired by design ideas. Traditionally, theatre directors, playwrights, or actors take the lead in creating performed projects. What happens when designers initiate theatrical work? How can design speak to an audience? How does design develop narrative, tension, and conflict? We will examine methods of using design elements that can carry an audience and sustain engagement. We will also explore how design ideas can spark the development of devised work involving performers. Throughout the semester we will survey the work of selected artists while analyzing how they mix traditional theatre design forms (sound, lighting, costumes, scenery, props) with new media and technology. With the assistance of classmates, students will develop and 'perform' individual pieces inspired by their own design visions.
Though the use of slide projections has a long history in the theatre, it is only within the last ten years that projection design has become a significant design element in many theatre productions. With the advent of easily accessible and user-friendly digital equipment and software, as well as the brighter and more intense luminosity of projection devices, projection design (video, HD, still frame, etc.) has established its place in live performance. Certainly many choreographers and small theatre groups have made video an integral part of their work for years. More recent advances in projection technology have made projections not only common, but often central to the experience of the performance environment. Continued experimentation with the integration of projections in many theatre productions has influenced other theatrical disciplines such as playwriting, directing and the traditional design areas. In this course we examine the history of projection design in theat re performance leading up to current practices. We will question the use of projection design in today?Ts theatre while we experiment with strategies for its inclusion. Students will be given an introduction to the ?otools? of projection design in a studio setting as they advance through a series of exercises and independent projects.
In this course students will focus on four plays (two contemporary and two classics) for in-depth design investigations. Within a studio setting students will devise specific projects that address scenic, costume, lighting, projection or sound design issues. These projects may consist of, but not be limited to costume design renderings, scenic design models, light plots with cues, or sound plots with cues. Formal presentations are expected. Students will also be required to produce a complete design in the area of their choice for an intensive in-class critique. Students will be expected to address and revise this fifth project throughout the semester. The course will include explorations of historic and contemporary styles. Students will strive to improve their presentational skills, drafting, rendering, communication and collaboration techniques. Students are expected to meet with instructor outside of class. Prerequisites: At least two courses in theatre design.