Section 1 Main Ide and Interpretation - Reminiscing the past As is rightly said- ‘Memory is a peculiar thing. it persists in our brains against all odds. It lets us remember all the highs and lows of childhood and every step along the way. This idea is what unifies the story of Irish playwright Brian Friel’s play “Dancing at Lughnasa.” (Aragay’ M., 2002) Throughout the play, the various characters seem to have on to their past and whether it is Uncle Jack not being able to recall everyday words, after returning from Africa, or the general idea of a man (Michael) narrating his childhood memories, the story of this play. This is evident in the very first dialogue as adult Michael says, ‘When I cast my mind back to the summer of 1936 different kinds of memories offer themselves to me (Friel B., 1998) or on page 20 of the playtext, when Maggie recounts a dance competition involving herself and her friend Bernie. She says ‘When I cae Cnnge was sixteen | remember slipping out one Sunday night — it T was this time of year, the beginning of August — and Bernie =| = l and | met....(Friel B., 1998) This play on memory not only (“ ndana._») (( dwe'e serves as an effective tool for characterisation but also (esta) 7 manages to create a dichotomy, between the ‘glorious past’ 5.2. + sns6s, The main eas win hw pay” 200 and their current struggle, throughout. The dialogues, corresponding to this idea, have been stated as they effectively meet my theatre maker intentions which is to display a contrast between one’s younger days and their current situation. This is used to bring a contemporary audience back into the past and display the reminiscence that everyone feels every now and then. - The effect of external forces on the Family “One moment you are laughing uproariously, the next your eyes are filled with stinging tears.” (Espiner M., 2009). The impact of the decisions of various is seen on the family, throughout the text. On page 41, Michael narrates an event which takes place that changes the structure of their family *..she would wake up one morning in early September both Rose and Agnes would have left forever’(Frie! B., 1998). The audience is left to guess if this was merely to overcome Unemployment (as they had just lost their last customer) or if it was because of Agnes’ secret fondness for her sister's boyfriend, Gerry. On the same page, Michael also mentions the loss of Kate's job which proves to be financially constraining for all of them ‘And she was right about losing her job in the local school. The parish priest didn't take her back when the new term began’(Friel B., 1998). Thus, although the impact of certain characters/societalelements becomes evident only during the climax, the presence of these are felt throughout- much like a slow rising action These quotes not only explain this idea, but also meet mylintention of showing the ups and downs of life (some of which is relevant to any context) and making the audience realise that happiness is just as inevitable as sadness. The culture of Ballybeg, Ireland ‘As mentioned in an article- ‘The play represents more than the memories of Brian Friel: it represents one history of Ireland. Dancing with Lughnasa not only reflects his childhood ‘experiences but changes in the culture of Ireland. (Morris L. K., 2010) The play is set around the festival of Lughnasa (Figure 2) and the family’s want to be merry, comes through on page 13, when Agnes says “I want to dance, Kate. It's the festival of Lughnasa, I'm only thirty- five, | want to dance. (Friel! 1998) This quote connotes the sisters’ necessity to celebrate their festivities and culture. This is accompanied by constantly tuning on the wireless redio, to 2a SSSnAG=SRTEES as Figure 2-"The Lughnasa Festival’ (Daly, E., n.d.) is mentioned in page 22- ‘She switches the set on and returns to her ironing. The music, at first scarcely audible, is Irish dance music — “The Mason's Apron,” played by a ceili band. Very fast; very heavy beat; a raucous sound. (Friel B., 1998) Small indicators of the Irish culture are prevalent throughout, and manage to beautifully highlight an instance of life int countryside. These quotes highlight my theatre maker intentions of displaying a new and mostly unfamiliar culture to the contemporary audience. | also plan to show the role, demeanour of women in all spheres of life- then vs now, through their cultural interactions. Theatre maker intentio As a director, | want to present the play for all of three intentions:- - To bring a contemporary audience back into the past and show how life was in the 30’ ~ This will also involve a display of contrast between one’s younger days and their current situation, = Showing the ups and downs of life and making the audience realise that happiness is just as inevitable as sadness. - Displaying a new and mostly unfamiliar culture and context, to the contemporary audience. - This will be done by highlighting the demeanour of women in all spheres of lfe- 20th vs 21st century, through their cultural interactions. This is because, all these three parts to my intention represent the three main ideas presented above. My intention also connects with Frie!'s intricate characterisation and setting as is represented in Ballybeg andthe Mundy sisters. Through them, | would like the audience to introspect about their own lives and be able to relate to them despite the differences in historical context. In order to create these effects and effectively highlight moments of Tension, Emotion, Atmosphere and Meaning within the play, | would like the actors to incorporate R just as Friel's story (highlighting a typical day) depicts. Although, | did consider portraying the play from an Expressionist viewpoint (since the play is essentially a flashback retold by Michael), it would deprive the audiences of experiencing the play's dichotomy and central ideas which are embedded in the Mundy sisters. I would like the stage to be a revolving one as a way of meeting my intention of bridging the time- gap between the contemporary audience and the play itself, so that they may be able to stay engaged and encapsulated. This, when incorporated with Realism would provide an engaging, yet visually appealing experience. The stage would be divided into the two spaces wherein the play is set (the kitchen and the backside garden) and would revolve each time the scene shifts space. Dividing the spaces would also simplify a conversation heavy story such as this. As a designer, | must pay attention to the various elements of costuming and lighting along with set pieces that can effectively create not only the setting of countryside but also manage to transport the audience into the 1930's. This would have to be done keeping in mind that the set- pieces and costumes are very everyday- looking to denote a homely atmosphere and to symbolise their downward Situation as well. The lighting would have to be adjusted so that the hay summer during the festival can predominantly be ‘experienced, This however, would change into a Spotlight for any of the scenes in the garden (as many scenes therein are significant as they mark a change of events within the play). | would thus delve predominantly into colours such as green and sunset yellows to create this setting, as a part of my intention to effectively display an unfamiliar culture to audiences who may be unaware of ths. | am well aware of the amounting cost of the staging and other production elements that would incur if this, production were to be applied to real-life and this can arguably be seen as a major liability to an actual production process. Section 2 Colours The visual production and design ideas stated in this section will be focused on the following colours- > Since the narrative is set in an indoor location, the shades of Hay, Mellow and Sunset Yellow will be used to give out a homely atmosphere. While indoor locations aren't too yellow, the set in my play includes a large window in the backdrop which lets the summer light in. These sets of colours will also act as a constant reference to the context of the play, as it is the Summer of 1936. Contrasting the greens, the yellows will serve to remind one of a wilted leaf, much like Kate's views about her sisters> The shades of green and brown will be incorporated to stipulate the idea of Lughnasa and the harvest season. This will stress the rural atmosphere of the play. Thus, strong greens such as Fem and Olive Green and Saddle Brown will symbolise fertility, youth and celebration. These colours will act as groundwork to display my theatre maker intentions and will be displayed primarily through the set design, costuming and lighting as is mentioned below. Stage and set design | decided to include a revolving stage which would go well with the overall set which predominantly includes only 2 spaces- the backyard. It would revolve each time the story shifts space and also symbolises the inevitability of their circumstances, each time the stage shifts to the backyard (as many ‘Space for Adult Michoe! wating space for the actors inkempt bushes Large window atthe back wall Space in ront of te —— ‘external forces’ impact the ‘Adult Michao! lives of the Mundy sisters — IT there). The stage will thus Audicwce, | Pradierncs || indicate how these ‘forces’ Figure 3- hnp656, ‘Bird's eye view of the proposed were responsible for their ‘staging’, 2019, Drawing downfall. The stage will also be able to display both spaces in scenes where there are simultaneous conversations in both the kitchen and the backyard, by rotating halfway. Undeniably, there are moments where the actors move from the kitchen to the backyard or vice versa, for which | have provided @ Space covering the perimeter ofthe ‘stage (refer to Figure 3), so that the actors can walk and the stage may revolve simultaneously. Some important set pieces from Figure 4 include- ~The dy Well: The well in the backyard space will be kept closed at all times with a metal lid and will be coloured black with highlights of dusty brown to show i's lack of use. This would thus foreshadow (to the audience) their upcoming poverty merely by indicating this constantly in the backdrop of the garden, where most of the Mundy household's downturns (which ultimately result in their poverty) will be known ~The Broom: The broom pushed to the side of the kitchen space is a typical brown Besom broom that was used during the time, but indicates the effort undertaken by the sisters to tidy the house for Lughnasa. Thus, contrary to Kate's insistence on them being too old, The broom is placed to symbolise their private celebration, and need to be merry ~The Mirror Just ike the broom, the mirror represents the characters’ need to be lively and merry, and is symbolic of youth and vanity. To stress on this | aim to place it towards Stage right in the kitchen spaceto cover much of the space beside the window, s0 as to draw attention, It will have small drawable curtains for whenever visitors arrive, concealing it's very existence- and will be symbolic of the Mundy sisters’ concealed youth. e The ‘window will be an actual one connecting the two spaces together and will be a large one covering most of the back wall. There will be a single flap on towards stage right will serve to cover them whenever the sisters want to look “presentable” for a visitor (such as Gerry), but will otherwise be covered with a single layer of gauze . The size of the window through the play will start to become symbolic of the sisters’ connection with the outside world each time they peer to look at a visitor or when Maggie recounts a Dance Competition from when she was sixteen. Figure 4- hnp656, “Proposed set design”, 2019, Drawing The shades of green ahd broWnh will be portrayed through the illustration of rural wildemess in the outdoor space (backyard). These stage and set designs aim to fulfill my intention of bringing a contemporary audience back into the past and show how life was in the 30's. Considering the proposed budget, | realised that | could incorporate all the props (so that | may capture the simplicity of the story) mentioned in the play i.e the shopping bag, a pail of water, the wool that Rose and ‘Agnes use to knit etc, and would stil be able to show the culture and routine life of that time in varied detail. Figure "The Rado 3s a prop” (wor 1800.01 0k (Ed.).n 4.) Figure 6 and 7- np, “20's inspired props”, 2019, Drawing ‘The main prop in the play- the radio (Figure 5), will be ‘compact like the one shown above, with the size of a briefcase as was used at that time. It's wooden surfacewill be an indicator of the time and its size will make it easy for the actors (especially Gerry- since he interacts with it the most) to carry it around. It will be placed towards stage right in the kitchen space, farthest from the kitchen and towards the garden space (since the stage will revolve anticlockwise). This is done to show the radio as a Props such as the pail of water and Kate's shopping bag (Figure 6 and 7) are crucial to the play as they represent the sisters’ current relative affluence so that they may keep their house clean and shop for commodities. To represent this, | would lke these articles to look fairly tidy and the bag should be checkered in the shades of green given above. Costuming The costuming in this play will highlight the women’s interaction with their culture as is one of my intentions. | plan to incorporate similar dresses (refer to Figure 8) of a countryside fashion for all the sisters except Kate's. Compared to the others’ hers will be a bit more formal and subdued in colour, indicating her profession as a schoolteacher. | am also planning to include a stark white (reflecting her virtue) handkerchief that she will always carry around: this can be used by her to wipe beads of sweat off her forehead indicating the head of the family role she has to take on and its effects on her. Father Jack would be dressed just like a parish priest of the time, however his hair would be unkempt, signifying his personal sense of wellbeing and mental instability after coming back from his missionary work in Arica, as per the story. This becomes important to show the first incurrence of futility and loss of hope within the play, ‘The 2 types of hairdos (refer to Figure 9) | plan to mainly incorporate would be the uptight bun and the 30's waved bob- as shown above. However, for Chris | would want her hair to be loose around her shoulder indicating youth and availability as she is the youngest, and as per the story, her illegitimate child makes her the outcast Figure 8- “Proposed in their society. 7 ed a show ner : Costuming for most acceptance of this alloted character. This wil . further help me visually convey my intention of sisters" (Clark, C., creating a contrast between one's younger days 41) and their current situation, The boots from Figure 10 will be used for Rose as they symbolise her need to dance and accurately reflect her lively and flamboyant a personality. Gerry would be dressed like so except he would have a Figure 9- “The 30's waved __walking stick as mentioned in the play, his striking, shiny shoes would bob(Pinterest, K. P., n.d.) Show that an effort has been made to make them look spotless, connoting his job and current circumstances.fuming and Signature boots" (Nicol, K., n.d.) Figure 11- hnp656, “Sketches of the characters, after incorporating the costume elements”, 2019, Drawing - Togive out a homely, summer atmosphere as well as to cater to the Naturalism within the play, | will predominantly use Hay lighting (a straw wash) and present most of the lighting as naturally as possible. For this effect, | will use profile and fresnel lights at the front of the stage, throwing a dispersed beam. | plan to use white profile lights at the same area to dillite the effect of @ contrasted yellow and to give off more of a ‘sunlight look, For scenes taking place in the afternoon, these lights will brighten. (refer to Figure 12 for complete lighting plan) = Aharder light will be used for the backyard space to denote harsh sunlight and a softer hay will be used in the kitchen. Tolshowease a ‘morning scene, | plan to throw yellow and blue fresnels from the side stage. “Fresnel Juminaires produce a Soft ‘edged beam of light that is brightest in the centre and Figure 12- hnp656, “The lighting plan for both spaces”, 2019, Drawinggradually darkens toward the edges. This characteristic makes blending the light beams between adjacent fresnel luminaires into a continuous pool of light of even brightness quite easy.” (THE STAGE LIGHTING GUIDE (Ed,)., 2019) These side stage lights will dim for a scene in the afternoon. - However, this lighting will change whenever any of the characters speak in the garden space, as many crucial changes in events take place there. For these scenes, the lights would fade in the background and @ hard white spotlight will be used on them to heighten the moment's tension, which justifies my use of white PC spots above the stage. “The light beam characteristics of the PC spotlight make it ideal for dramatic highlights when focused to a narrow spot.’(THE STAGE LIGHTING GUIDE (Ed.)., 2019) - I plan to incorporate hay flood lights coming from behind the window. The single layer of gauze is meant to disperse this flood even more to create the impression of sun rays. These rays will brighten during the afternoon scenes to play to the Naturalistic setting of the play. - Through all the changes in lighting, | plan to use a haze machine to create the atmosphere of a dusty rural setting. This when, accompanied with the Hay, will be used to create an ironic sense of low activity and futility amidst the harvest festival of Lughnasa and will also be used to represent the ‘rustic emotion’ that some sisters currently feel with regard to their age. Music and Sound - Since this play involves a lot of references to songs and dancing, | plan to include 308 Irish music for whenever the radio (Marconi) plays (this will be accompanied by sounds of static to show the radio's ‘dysfunctionality). The static will be a necessary component as it represents the lack of access the sisters have to a merry and musical celebration that they all want. - A low hum of a tune/sound will play for whenever a character recounts the past. This would be the ‘concerned tune/sound for that particular scene. E.g- During Maggie's monologue about the ball she went to, the low sound of merry laughter with glasses clinking etc. will be played in the background to effectively display a flashback and giv The lighting and tech will be used to mark when there is a happy, or sad moment, when a character reminisces etc, thus fulfilling the intention of portraying the ups and downs of life and the inevitability of it all. Section 3 The moment Pages 22- 26 describe a moment where chaos ensues in the Mundy household upon the spotting of Gerry Evans- Michael's insincere and self- absorbed father and Christina's beau. Him not having shown up for more than a year throws the sisters into confusion and they realise that they must receive him even though they find him despicable. The significance of this moment lies in the discussion that follows upon this realisation. It shows how the sisters try to pull themselves together upon facing their first major problem amongst happy festivities andholds significance as it foreshadows the unexpected downturn of events that occurs in every one of their lives, subsequently. © Performanc ments > Tension- To convey tension in this moment, | want Chris and Agnes (the characters most affected) to pantomime their distress and the others to verbally romanticise their shock and raise a hue and cry about it. While | am aware of my chosen style of Naturalistic theatre, moving away from it is a necessary step for this moment to highlight how some (and their original personality) when faced with a crisis. This can be expanded in the following ways- - I plan to utilise a mix of huddled and dispersed blocking to create a crescendo effect for the scene. The characters will need to “huddle” themselves center stage in front of the window to look out and judge Gerry's movements. They then need to disperse in different directions according to the work they choose to do, in order to prepare to receive him. This stark Separation is also important to foreshadow how the sisters end up separated towards the end of the play. - To further highlight the tense situation, | would like Chris to pat her hair (being a symbol of her youth) down with shaky movements of her fingers to create the impression of her trembling. Kate would busy herself by patting Chris’ dress down using powerful and almost robotic movements of her hands and head, such that they work at sharp angles. This would be used to highlight the sudden “necessity” of making Chris look presentable as is indicated by Friel on page 25- ‘CHRIS- Oh sweet God- look at the state of me- what'll! say to him?- how close is he?(Friel, B., 1998) - While all characters would begin to emulate the head of the family- Kate- in her movements and body language and tidy up based on their roles mentioned in the stage directions, | would like Rose to stand beside Chris the whole time and flail her arms- contributing not only to her childish demeanour but to also ‘emphasise on her role as the member who cannot possibly help with a problem, but only adds to it. This is ‘emphasised by Friel through repetition of “hate” in the following quote from page 25- ‘ROSE- | couldn't look that man in the face. | just hate him- hate him!"(Friel, B., 1998) > Emotion- | plan to display a significant contrast in the performance elements employed for each character 0 as to highlight how differently this new entrant affects each of them. Their varying emotions can be made clearer by- - The sisters speaking in low and hurried whispers so as to their distaste towards Gerry. Chris, who. is most affected by his entry, must stand dumbfounded and blurt her lines out in a breathy manner whenever she speaks. - Drooping her shoulders and keeping her feet apart. This will effectively help in the portrayal of a character who is overcome by sudden exhaustion, the feet can convey that she has nothing left to fight with- thus hinting towards. = Accordingly, Chris needs to move in slow measured steps while the rest of the sisters make optimum use of their legs to go about tidying everything around the house- by taking big, hurried steps (so that their dresses create the effect of big brooms sweeping across the house). This demeanour is made clear by Friel in the following quote from page 24- “AGNES- Who? Who is it?....CHRIS- Christ Almighty. (Friel, B., 1998)The double interrogative for Agnes not only shows her disbelief but also her inquisitiveness to know more and do something about the problem as quickly as possible. This contrasts with Chris’ two -word utterance which neither solves the problem, nor knows more about it, showing that she has come to a standstill of sorts. * Production elements > Tension- | plan to SXSEtInTETINHATINE IiGHIS|SSUNE BRASEEUESIOH in order to build tension. The discussion in the Mundy household goes from rushed (when they think it is Gerry Evans coming) to calm (when they think they mistook someone else for him) to rushed again (when they realise it is Gerry and must think of ways to face him). Friel's employment of such quick contrasts in the setting of the Mundy household is proof that | must adapt my production elements to suit his desired build- up of tension in the moment. - I plan to showcase a hard hay lighting from the last batten for the rushed moments. This will be done through PC spotlights (See Figure 13) which would produce a shadow at the front of the actors. This would add to their frantic movements and further add to the visual mayhem and chaos of the scenario. For the calm, a Sofft hay would be shone down from the front batten (nearest to the curtains) to diffuse the shadows out. This will definitely have to be done gradually so that the audience doesn't realise the change in lighting and become aware of the tension in the moment as an element that seeps in. Figure 13- hnp656, “Blocking and lights to create respective rushed and calm aspects”, 2019, Drawing - To create a tension, | would further like to add in some elements of Souind in the form of an accident that takes place during the final “rushed sequence” wherein they decide to take their problem head on and tidy Up to receive Gerry. This would be done as Maggie moves towards stage lef to stand closer to where Gerry would enter from. Amidst arranging articles on the kitchen table, she accidently turns on the radio (Marconi) so that it plays a Stati¢ noise, instead of music. This would not only contribute to the disarray of the moment but also add to Marconi as a symbol of futility and lost hope (which is also seen in the sisters’ lack of faith and distrust in Gerry). - Friel, through his composition of a scene comprising tidying up the household presents an obvious need for the Set pieces to contribute to the tension within this moment. Thus, | plan on changing the position of the 10pall of water to be kept inside the stove's cabinet (refer to Figure titled “Proposed Set Design’). The broom will be used by Rose to sweep around the space and to top this sequence on a hurried note, | plan for the cloth over the kitchen table to be flipped, just when the sisters think everything is ready, so that the green- checkered cover, which was present all along the play gets switched to a red- checkered one. This would also add to the symbolism of a qui on as is broadly intended through this entire sequence of heightened tension and chaos. Meaning To create meaning in this moment | plan to incorporate the various elements of costuming and lighting along with adjusting the layout of the stage and set. This will be used to contribute to Friel's depiction of the first real challenge faced by the Mundy household and the relevance it holds towards the lack of hope at the end of the play. Following are the costume elements that would be incorporated for the two most important characters in this moment. CHIRIS- being the youngest and only mother in the family, Chris comes. across as a young, lively and “fertile” woman who is evidently free from all responsibilities of motherhood thanks to her elder sisters. This, however apparent may be, is not the only focus of hers’ as Chris spends most of her time doing house activities just like the other sisters and doesn't pay much \ attention to clothing or fashion. | thus plan to incorporate a floral frock kind of | a dress which imitates the simplicity of 30's country fashion but also \ symbolises the freedom and youth that is emulated by Chris. This would fall oy short after her knees and would be a sleeveless dress giving a girlish aspect f 1 — to her, making her role as the youngest sister clear in the minds of the x-I audience. Contrasting her sisters’, her hair would be let down about her Z q shoulders to highlight her “availability”, unlike the other sisters who are not ip interested in romance. | must also keep in mind that her costume, despite her youthful appearance, must take into account her economical and rural 1 LS background. (See Figure 14) GERRY. carefree, charming and ostentatious, Gerry almost never fails to __Fgue 4-rrpés6“Poposd costo for make a person like him. Having just returned from England, he speaks in a ee Welsh accent which is an obvious put- on and falls to —~—“rutntranoitnonsn procure stable employment as a part of his careless ~ ee persona. In this moment we learn that he had left Chris Py to start a job in England but does neither that nor father { “me Michael, but wins everyone in the Mundy family over using his happy- go- lucky nature. Thus, these attributes when incorporated into costuming would be t the perfect encompassment of what this play is about- ronan false hope and one’s surrendering to their Sqraue sick circumstances. This can be achieved by showing how } first appearances can be deceptive in the case of Gerry Evans (their first real problem) and incorporating torn cloth in his costume. It must be noted however, that he Fares i, Poco one tor Gerry, 2019, Drawing 4would be dressed in a suit and hat making him look affluent, but only from afar. (See Figure 15) My proposed staging a n (refer to images titled "Proposed set Design’ and “Bird's eye view of the proposed staging”) also create meaning by adding to the moments significance as the first major event where circumstances go in a downward spiral. As mentioned before, this would be done by indicating the presence of several set pieces such as the broom and the mirror which are symbols for concealment and the want to be merry (highlighting the need for circumstances to stay as they are, which they don't with the coming of Gerry). The revolving stage moves to show the garden space whenever a new “external force” such as Gerry or Agnes and Rose’s employer have an impact on the Mundy household. Thus, when Gerry initially enters the setting towards the end of the moment, the stage will revolve slightly to show a bit of the garden space, which not only al the occurrence of the adversity regarding him in the future but which would reveal complete misery x + and desperation in the household. : final shift in the moment which it tt encompasses the tense build- up, is ‘ when Gerry arrives in the end. To create a climactic meaning to the whole rule moment, | plan to change the | yy | } — Blocking of Gory from hay to a hard white spotlight on the \ character speaking at the end of my moment (either Gerry or Chris, when they speak). This (Figure 16) will mark the first indication of an end to happy times in the story. The hard white See Be es spotlight will come on whenever there is 2019, Drawing a Ghiall6hGe for any of the sisters in the rest of the play as well Wakway or characters to enter Bibliography ARAGAY’, M. (2002), Ireland, Nostalgia and Globalisation: Brian Friel's Dancing at Lughnasa on Stage and Screen. University of Barcelona. ‘© Clark, C. (n.d.). Blue Dimdl. Retrieved March 17, 2020, from Pinterest website: https:ifin.pinterest.com/pin/555913147727539422/?nic_v1=1aE4pFK9HOXX%2FGEMHsFzi4K cJZWTIXiMIOYZ6qUUFAvIKAWBpAKS%2F6IPX6JQVVWACY © Daly, E. (n.d.). LUGH AND LUGHNASA. Ireland's Own, (5512). Retrieved from https://www irelandsown je/lugh-and-lughnasa-issue-5512/ ‘© Espiner, M. (2009, March 6). What to say about ... Dancing at Lughnasa. The Guardian. Retrieved from https://www.theguardian. com/stage/2009/mar/06/dancing-lughnasa ‘Figure 1- Parameswaran, Samyuktha, “The main ideas within the play’, 2019, Drawing 12 Hay Prot ad Fresnel htsFigure 3- Parameswaran, Samyuktha, “Bird's eye view of the proposed staging’, 2019, Drawing Figure 4- Parameswaran, Samyuktha, “Proposed set design’, 2019, Drawing Figure 6- Parameswaran, Samyuktha, “30's inspired props’, 2019, Drawing Figure 7- Parameswaran, Samyuktha, “30's inspired props’, 2019, Drawing Figure 11- Parameswaran, Samyuktha, “Sketches of the characters, after incorporating the costume elements’, 2019, Drawing Figure 12- Parameswaran, Samyuktha, “The lighting plan for both spaces”, 2019, Drawing Figure 13- Parameswaran, Samyuktha, “Blocking and lights to create respective rushed and. calm aspects’, 2019, Drawing Figure 14- Parameswaran, Samyuktha, “Proposed costume for Chris’, 2019, Drawing Figure 15- Parameswaran, Samyuktha, “Proposed costume for Gerry’, 2019, Drawing Figure 16- Parameswaran, Samyuktha, “Proposed Lighting for Gerry's entry", 2019, Drawing Friel, B. (1998). Dancing at Lughnasa. London, United Kingdom: FABER & FABER, Morris, L. K. (2010, November 18). Review: Dancing at Lughnasa captures the memory. The Seattle Times. Retrieved from https:/www.seattletimes.com/entertainment/review-dancing-at-lughnasa-captures-the-music- memory! National Theatre (Ed.). (n.d.). National Theatre. Retrieved March 17, 2020, from Youtube website: https://www.youtube.com/channel/CUDq1XzCYONIOYVJvEMQiqw Nicol, K. (n.4.). Workers at Murray's Cooperage, Craigmillar - Photo probably taken around early 1930s, Retrieved March 17, 2020, from Pinterest website: https:/www.pinterest. com/pin/454511787370050321/7Ip=true Pinterest, K. P. (n.d.). 1930 poor women’s fashion (Photograph]. Retrieved from https:/www.pinterest.com/pin/389209592778580873/7Ip=tue THE STAGE LIGHTING GUIDE (E¢.). (2019, May). A GUIDE TO STAGE LIGHTING. Retrieved March 17, 2020, from THE STAGE LIGHTING GUIDE website: http:/iwww. stagelightingguide.co.uki##ChoosingLightingPositions Wikipedia. (2020, March 8). Brian Friel. Retrieved March 17, 2020, from Wikipedia website: https://en.wikipedia.org/wiki/Brian_Friet#List_of_works \www.1900s.0rg.uk (Ed.). (n.d) Listening to the radio at home in 1940s wartime Britain and, afterwards, Retrieved March 17, 2020, from www.1900s.org.uk website: https:/Avww. 1900s. org.uk/1940s-home-radio. htm 13