The Persecution and Assassination of Jean Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis De Sade
Jean Paul Marat and Charlote Corday, his murderer, share a look.
The play has many songs that change its mood drastically, these were lit with more saturate color.
The Marquis DeSade, the plays director, in conversation with and the invalid Marat.
The white costumes helped to bounce light, drawing the main characters into sharp focus.
Charlote Cordays third Visit.
A window gobo with a color scroller enhanced the setting while giving me the ability to change mood within the play's constructed reality.
Coulmier, the Director of the Asylum.
Marat's call to the people of France.
De Sade is whipped.
The Marquis De Sade, for whom the term sadism was coined, explains to Marat the impetus for his actions. The play acts as a dialectic between Marat, who views change as real and concrete, and Sade who sees change as something that can only come in the mind.
The Murder.
I chose to stylize this moment because it is a reenactment, and cannot be taken literally.
Marat's Nightmare
Another stylized moment. Marat recalls his parents and other detractors during a feverish hallucination. In the specials I used a color correction taking the color temperature in the instruments to 5100K. This offered a stark contrast to Marat's amber saturated dream. The characters would use small mirrors to blind Marat when they were speaking.
A riot ensues at the end of the play, the inmates are incited to extreme violence.
I used saturate amber to enhance the mood of the moment, giving it a feeling of a stiftling room, or a pot about to boil.
Set Design by Rob Berls
The set features six sets of bars that flew out at the begining of the show. Fresnels and fog machines under the platforms added to the mood. While water used was piped in through the wall to use in torture scenes.
Please Note: All design elements, documents, and the photos associated are the copyrightedpersonal intellectual property of Bryan Marks and may not be used or reproduced without permission.