Below are some images of the final model. In this image, the dressing room facing the street is visible, with the single window shown that allows sunlight to highlight the actress depending on the time of day and her location in the room. The window is also there to remind the actress of the 'natural' activities occurring outside her rooms, which is in opposition to the rest of the theatre's rooms that facilitate the artifice of performances.
This is a view of the wings from the stage. The deep walls of the wings symbolise the final barrier between the daytime existence of the actors and their artificial performances. The angled windows in the wall symbolise chinks in the curtains and direct the artificial stage light into the ramp and passageway where the actress and her lover prepare for the performance. The light reminds them of the transformation into character ahead.
From this angle, the entrance to the actress's room and the public corridor can be seen. The actress's bridge from the dressing room to the wings is separated from the ordinary bustle of backstage so that she and her lover can go through a series of reflections and thought processes on their way to the stage.
This view highlights again the bridge's role in the theatre. The lover's ramp has a low glass railing that allows him to note that they are in theatre where the magic that he perceives is created. Then he can also take this knowledge to appreciate his actress as she prepares for her role.
This top-down view shows the voids in the model - from the direct link between the dressing room and the wings to the open passageway with its overhead bridge. This openness is part of the theme of the awareness of between backstage and stage, from private to public and from nature to artifice.
Finally, here is a closer view of the dressing room entrance - the top of an ascension into self reflection, private space and the privilege for the lover of attending the performance from the perspective of the theatre actors and actresses.
This is a view of the wings from the stage. The deep walls of the wings symbolise the final barrier between the daytime existence of the actors and their artificial performances. The angled windows in the wall symbolise chinks in the curtains and direct the artificial stage light into the ramp and passageway where the actress and her lover prepare for the performance. The light reminds them of the transformation into character ahead.
From this angle, the entrance to the actress's room and the public corridor can be seen. The actress's bridge from the dressing room to the wings is separated from the ordinary bustle of backstage so that she and her lover can go through a series of reflections and thought processes on their way to the stage.
This view highlights again the bridge's role in the theatre. The lover's ramp has a low glass railing that allows him to note that they are in theatre where the magic that he perceives is created. Then he can also take this knowledge to appreciate his actress as she prepares for her role.
This top-down view shows the voids in the model - from the direct link between the dressing room and the wings to the open passageway with its overhead bridge. This openness is part of the theme of the awareness of between backstage and stage, from private to public and from nature to artifice.
Finally, here is a closer view of the dressing room entrance - the top of an ascension into self reflection, private space and the privilege for the lover of attending the performance from the perspective of the theatre actors and actresses.
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