‘The Short History Of Night’ by John Might on fervently seeks to expound upon the idea that societal disorder will eventually affect all levels of society despite any purposeful attempts to be detached, whether physically, using status or otherwise. Throughout many facets of the play this thought is effectively echoed, more particularly in the areas of set design, sound and light design, and character development. The utilization of levels in the set design is sensibly used in what I believe, a twofold purpose. First, and more obviously, to create various physical levels on stage with the use of the raised circular portion as in the scene with Kepler and his soon-to-be wife sitting on a hill awaiting his ‘prophesied’ comet or with the depiction of Tycho’s observatory. On the other hand, this rise in physical level also produces a platform for a higher level of observation or rationale.
Kepler’s wife, while standing on this upper level, would begin to ponder and question her husband on various topics possibly beyond her character’s intelligence level as inferred by her husband’s response. It is ironic that she is also placed at this level as she is ‘raving’ during her interrogation on her involvement with witchcraft. Therefore, following the same train of thought, the use of this arrangement suggests that her examiners, namely the Inquisitor, are merely acting out of ignorance. Most tangible however, is the complete black appearance of the set that helps considerably to establish the notion that the play is a representation of place in a period of discord.
The Essay on Set design in modern theatre
... from the earth in an avalanche, part of the set design that needs to be built or implied presents to ... The Importance of Set Design in Shaping and Effecting Realism and Modern ... face in That Time is ?10 feet above the stage level off center . . . [with] long flaring white hair ... eliminates contemplation of universal questions. Realistic plays and the sets that go along with them are a misconception ...
The darkness of the set creates a sense of eeriness and obscurity that draws the audience into the social upheaval of this period. More interestingly, over the course of the play this ‘blackness’ extends into the allusion of the lurking evils of the society and its possible infiltration at any time on the unsuspecting. Working in conjunction with the set, to completely produce the aforementioned effect, is the sound and lighting design. Strikingly impressive, is the use of shadows to create scenes and evoke mood, as with the shadow representation of the forest creating the setting and generating a harrowing atmosphere — perfect for Kepler’s secret journey to Tycho’s observatory. The sound and music successfully accentuate the growing conflict in the play with the extensive use of tension chords, particularly during the arrival of the Inquisitor and the scene changes, creating dissonant, chaotic-sounding tones.
In this play character development has the most important role in the portrayal of this infectious societal disorder. It is through the characters on-going actions and shared thoughts that we receive the greatest insight into this gradual ‘infection’. For example, the actor brilliantly externalizes the gradual changes in the character of Kepler’s wife taking her from the innocent inquiring young girl to ultimately being accused of witchcraft with not much visible physical action but by vocalizing her thought processes through all of her encounters. The gradual infiltration of this social upheaval eventually affects all and excellently summarized in the following quote from Tycho’s final scene: Kepler: ‘One day we will bring the heavens down to earth.’ Tycho: ‘Too bad for heaven.’.
