Lights hang everywhere, tables are scattered here and there on stage, and tech engineers criss-cross the floor. What is happening here at the Stadsschouwburg (city theatre)? An interview with Ascon de Nijs. He designs sets for theatrical performances. A visual artist through and through, De Nijs studied Scenography at the Royal Academy in The Hague. He has been working as a designer on various productions for many years. How does a set like this actually come about?
ARTISTIC PART
De Nijs says that you start with the artistic part. ‘Creating space to tell the story. Does it follow the action of the scenes in the picture or is it a totally contrasting atmosphere?’ These are examples of the elements that must be considered. An initial idea came about in March with the first draft of the set being presented to the company in late May.
ARTIST OR ARCHITECT?
‘As a set designer, you create art within someone else's artwork,’ De Nijs says. You have to deal with multiple parties, such as directors, choreographers, technicians and production people as well as available theatre space. ‘Because the show will be seen in different theatres around the country, space for each theatre is also an important variable to consider during the design process,’ he says.
According to De Nijs, it is important to coordinate with tech and production on retaining the set’s appearance even in more intimate venues. And the practical side must not be forgotten: the set pieces must all fit in the truck as well.
CREATIVITY LURKS
Designing a set is an intensive process. The creative idea comes about within a kind of ‘slumber zone’ in your subconscious, according to De Nijs. ‘I often visualise these things in the morning’ he says. During the day, the idea can mature. He usually has a notebook by his bedside for taking notes as well. The set of Snow White was created with the idea of creating an upper and lower world on stage. To get an idea, the set designer shows a picture on his phone.
The idea for the back wall with a kind of catwalk came about because he was reminded of a scene from the movie ‘From Dust till Dawn’. He worked out his association in the form of a maquette, then a set image, made of beer cans and neon lights. He showed the detailed model to director Ko van den Bosch. Bosch was looking for a slightly cooler and calmer setting: something less expressive and grotesque. In turn, the set developed into a physical wall of drywall. The tables on stage are placed with precision so that the dancers can navigate between them.
AN EXPLOSIVE GESTURE
And as a spectator, how can you tell that the set is a real ‘De Nijs’? He finds it difficult to articulate how he leaves his mark. De Nijs doesn't actually think about it and says he experiences putting his own stamp on the work as a limiting thought. Then he is silent for a moment and looks ahead. Suddenly he comes up with an answer anyway: ‘As long as it's an explosive gesture.’
Text: Floor Hogerheijde