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The Seagull - Set design group 85

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Anh Nguyen
Anh Nguyen

The document provides set design details for each act of Anton Chekhov's play "Seagull". For Act 1, the set will feature trees, bushes, and a stage with furniture from the 1890s and a lake in the background. Act 2 will have an open lawn area with a house in the background and trees for shade. Act 3 takes place inside the dining room of the house. Act 4 features a sitting room converted into a writing room with doors, bookshelves, and furniture accurately reflecting the play's description.

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Set Design By: Anh Nguyen Group 85
Seagull by: Anton Checkov I want to have 4 different sets for each acts. Furniture from 1890s Backgrounds Trees for the outdoor sets I want to stay with the original sets, and add in a few modern twist. To the performers: confortable and understand the play from the sets The audience: feel like they are on stage Have a better understanding and better experience from the sets.
Elements The sets will be realistic, because the play is set in reality. The time period is in the 1890s. I want to make it as real as possible. Something that related to the theme of the play. Something that can shows the different between sets (outdoor, indoor, locations).
Act 1 The scene is laid in the park on SORIN'S estate. A broad avenue of trees leads away from the audience toward a lake which lies lost in the depths of the park. The avenue is obstructed by a rough stage, temporarily erected for the performance of amateur theatricals, and which screens the lake from view. There is a dense growth of bushes to the left and right of the stage. A few chairs and a little table are placed in front of the stage. The sun has just set. JACOB and some other workmen are heard hammering and coughing on the stage behind the lowered curtain.
Act 1 - This would be the ideal set for the first act, because is fit the play correctly. - I would like to add a few more trees, and add in a lake to the background.
Act 2 The lawn in front of SORIN'S house. The house stands in the background, on a broad terrace. The lake, brightly reflecting the rays of the sun, lies to the left. There are flower-beds here and there. It is noon; the day is hot. ARKADINA, DORN, and MASHA are sitting on a bench on the lawn, in the shade of an old linden. An open book is lying on DORN'S knees.
Act 2 - I wanted the set to have some open space. - The sun to represent a hot day - The background is prefect. - I want to add in the house in the background, but not visible to make it feel like it was in front of the house, giving the audience a better understanding.
Act 3 The dining-room of SORIN'S house. Doors open out of it to the right and left. A table stands in the centre of the room. Trunks and boxes encumber the floor, and preparations for departure are evident. TRIGORIN is sitting at a table eating his breakfast, and MASHA is standing beside him.
Act 3 - This is inside of the house. - I want to change the background to make it more indoor. - Add in like a dining table to make it more homey.
Act 4 A sitting-room in SORIN'S house, which has been converted into a writing-room for TREPLIEFF. To the right and left are doors leading into inner rooms, and in the centre is a glass door opening onto a terrace. Besides the usual furniture of a sitting-room there is a writing-desk in the right-hand corner of the room. There is a Turkish divan near the door on the left, and shelves full of books stand against the walls. Books are lying scattered about on the windowsills and chairs. It is evening. The room is dimly lighted by a shaded lamp on a table. The wind moans in the tree tops and whistles down the chimney. The watchman in the garden is heard sounding his rattle. MEDVIEDENKO and MASHA come in.
Act 4 - This is prefect, just as it described in the play. - I want to add in walls, so it give the doors (on the left and right) a better connecting rather then just two doors.

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The Seagull - Set design group 85

  • 1. Set Design By: Anh Nguyen Group 85
  • 2. Seagull by: Anton Checkov I want to have 4 different sets for each acts. Furniture from 1890s Backgrounds Trees for the outdoor sets I want to stay with the original sets, and add in a few modern twist. To the performers: confortable and understand the play from the sets The audience: feel like they are on stage Have a better understanding and better experience from the sets.
  • 3. Elements The sets will be realistic, because the play is set in reality. The time period is in the 1890s. I want to make it as real as possible. Something that related to the theme of the play. Something that can shows the different between sets (outdoor, indoor, locations).
  • 4. Act 1 The scene is laid in the park on SORIN'S estate. A broad avenue of trees leads away from the audience toward a lake which lies lost in the depths of the park. The avenue is obstructed by a rough stage, temporarily erected for the performance of amateur theatricals, and which screens the lake from view. There is a dense growth of bushes to the left and right of the stage. A few chairs and a little table are placed in front of the stage. The sun has just set. JACOB and some other workmen are heard hammering and coughing on the stage behind the lowered curtain.
  • 5. Act 1 - This would be the ideal set for the first act, because is fit the play correctly. - I would like to add a few more trees, and add in a lake to the background.
  • 6. Act 2 The lawn in front of SORIN'S house. The house stands in the background, on a broad terrace. The lake, brightly reflecting the rays of the sun, lies to the left. There are flower-beds here and there. It is noon; the day is hot. ARKADINA, DORN, and MASHA are sitting on a bench on the lawn, in the shade of an old linden. An open book is lying on DORN'S knees.
  • 7. Act 2 - I wanted the set to have some open space. - The sun to represent a hot day - The background is prefect. - I want to add in the house in the background, but not visible to make it feel like it was in front of the house, giving the audience a better understanding.
  • 8. Act 3 The dining-room of SORIN'S house. Doors open out of it to the right and left. A table stands in the centre of the room. Trunks and boxes encumber the floor, and preparations for departure are evident. TRIGORIN is sitting at a table eating his breakfast, and MASHA is standing beside him.
  • 9. Act 3 - This is inside of the house. - I want to change the background to make it more indoor. - Add in like a dining table to make it more homey.
  • 10. Act 4 A sitting-room in SORIN'S house, which has been converted into a writing-room for TREPLIEFF. To the right and left are doors leading into inner rooms, and in the centre is a glass door opening onto a terrace. Besides the usual furniture of a sitting-room there is a writing-desk in the right-hand corner of the room. There is a Turkish divan near the door on the left, and shelves full of books stand against the walls. Books are lying scattered about on the windowsills and chairs. It is evening. The room is dimly lighted by a shaded lamp on a table. The wind moans in the tree tops and whistles down the chimney. The watchman in the garden is heard sounding his rattle. MEDVIEDENKO and MASHA come in.
  • 11. Act 4 - This is prefect, just as it described in the play. - I want to add in walls, so it give the doors (on the left and right) a better connecting rather then just two doors.