Together with the theatre director, the dramaturgs form a programme planning body. The City Theatre has three dramaturgies. Artistic designers at the City Theatre include three set designers, a costume designer, lighting and sound designers, and a music arranger. They work closely with the production director, conductor and choreographer. The work of artistic designers begins when a production becomes a production decision. In large productions, planning begins even more than a year before the premiere.
From idea to performance
The Helsinki City Theatre has about 15 premieres on five stages each year. The theatre’s programme includes drama, comedy, farces, musicals and children’s performances. Dramaturgs Ari-Pekka Lahti, Sanna Niemeläinen and Henna Piirto are responsible for planning the diverse programme together with theatre director Kari Arffman . The theatre’s dance group is responsible for its artistic director.
Dramaturgs look for new repertoire by reading plays and novels and discuss ideas, topics and interesting authors. Writers and directors also offer ideas or scripts for theatre. If the idea fits into the theatre’s repertoire, it is taken towards the stage together with the creators.
In addition, dramaturgs follow what is being done internationally and read the latest foreign plays. The work also includes watching performances in other theatres in Finland and, if possible, abroad.
“The key requirement of a dramaturg’s job is to be able to react when a good text comes along. You have to find gems among all the texts,” Lahti says.
According to Piirto, one of the best moments of the job is when you get a really good and original play to read: “You always get excited about great texts.”
“In software design, it’s really important to be genuinely enthusiastic about all the choices!” Niemeläinen adds. “When the creators are enthusiastic, it is also reflected in the finished performance.”
Repertoire is planned over a time span of about two years. However, some room for manoeuvre must be left so that the theatre can react to surprising changes and topical issues. To the repertoire, the aim is to find a balance between current and classic themes.
“If the script is good, it has profound things to say. Often, we are basically talking about big themes and eternal things, even if the surface is about something topical,” Lahti adds.
The programme is designed for the viewers. “We try to think about what interests and touches us different Helsinki residents and Finns,” Niemeläinen says.
In addition to repertoire design, all three acted as responsible dramaturgs in various productions. During the writing phase, the dramaturg in charge supports the playwright, i.e. reads and comments on the scripts at different stages.
In the production phase, the dramaturg helps the director with questions related to the play’s text and overall dramaturgy. The dramaturg goes to see the rehearsals and discusses what he has seen with the director.
“During the process, the team may become blind to the details. The dramaturgs then act as extra eyes. We know the work, but we see it a little more from the outside,” Piirto clarifies.
“In the work of a dramaturg, you get to help others all the time at all stages of the theatre process,” Lahti continues. “It’s nice to come to work in the mornings. Theatre is like a sandbox for adults, where we can play.”
“And indoors!” says Niemeläinen and laughs.
“Inventing” sets is design at its most authentic
It is said that a set design is a proposal for direction. The final set design is the result of cooperation.
“The set design includes some kind of plan for the overall aesthetics of the performance, which extends beyond the appearance alone,” describes set designer Antti Mattila.
“Set design produces action on stage,” adds set designer Katariina Kirjavainen. Mattila and Kirjavainen are the two permanent set designers at the Helsinki City Theatre. In addition to them, Vilma Mattila also works as a set designer.
“Our handprints are very different. It is in the interest of the City Theatre that there are artists in the building who produce different kinds of stage images,” Kirjavainen says.
“I am a passionate colourist and particularly interested in children’s theatre. However, in such a large theatre, it is possible to realise one’s views very extensively. ”
“I, on the other hand, don’t see this as a means of self-expression so much as problem-solving,” Mattila says. “However, I create the problem myself. It can be artistic, related to the theme of the text, how the scenography brings a new angle to it, which makes it interesting. Or it can be practical, like in farces, how the hell can this be done in this space where there have to be doors and how can it all fit on stage!”, he laughs.
Each production begins with a planning phase with the director.
There is a huge range of possibilities with which a presentation can be made.
“The discussion starts with the theme and the aesthetics of presentation. There is a huge range of possibilities with which a presentation can be made. There is a lot of intuition involved, which is fun because it is design at its most authentic,” Mattila describes.
After that, a scale model of the plan is made and later working drawings are made for the workshop. The scale model is an important tool for the entire design team, which at this stage includes the costume designer and the lighting and sound designers in addition to the director. At the same time, practical matters, such as lines of sight from the stands, are examined. Once the plan has been approved by the theatre, it will be transferred to the workshop for implementation.
“Maybe people don’t always think about the fact that it’s not just that the sets are physically built, but that someone has also designed and invented them!”, Mattila laughs.
Read Antti Mattila’s birthday interview on HS’s website
For Kirjavainen, it is important that theatre is a time-bound art form. The performance takes place in front of an audience at a specific moment. The stage image must communicate with the audience.
“The goal is that the performance is always in some way related to what is happening in Finland and the world. My children are currently between 22 and 30 years old and I try to stay on top of their visions for the future. How future generations perceive the world is always interesting.”
Mattila agrees.
“I try to register this world as widely as possible. I observe reality and look for material. In the end, the truth is always more wonderful than the myth.”
The costume designer illustrates the play in his mind
At the same time as the set designer, the costume designer begins his own cooperation with the director.
“I’m there pulling the instructor by the sleeve to go to a meeting and quickly! I have to take the advertising photos soon and I need to know what the character should look like,” laughs costume designer Elina Kolehmainen.
A discussion begins with the director about what is being done: what the script is about, what style is being used to do the work, and what issues do you want to highlight. Kolehmainen himself is the first to pick out clear defining things from the text, such as time, place, and whether the text is true or false.
“I’m a boundary-seeker, but I’d like to let go of it a bit and just start making art!”
Kolehmainen, who has acted extensively herself, has a strong approach to stepping into the actor’s shoes during the planning phase. She says that she will start playing the role and illustrating the play in her mind.
“In costume design, everything always starts with the main character. The rest accompany me. In their case, I pondered how each role appears through the eyes of the protagonist. Is that role annoying, or what is the addictive, and in what relation does it have to the main character.”
Especially in large productions, there is a lot of collaboration with other artistic designers. The end result must be a well-thought-out stage image.
In the end, the costumes are finished when the lights are ready.
“In the end, the costumes are finished when the lights are ready. That’s when you can see what each dress looks like in which light,” Kolehmainen says.
Costumes are also discussed with the actors. Kolehmainen considers it extremely important. After all, it’s their tool and the actor must be able to trust the costume.
“Conversational skills are important in this job. The more you discuss, the better the end result feels, even if it doesn’t quite correspond to what you originally thought.”
When the plans are transferred to the sewing shop, Kolehmainen will discuss the choice of materials with the seamstresses and tailors, in particular.
One production can take up to six months to work. Especially as the premiere approaches, situations can become hectic.
“This is tolerating chaos!”, Kolehmainen laughs. “It only starts to work out right there in the final meters.”
When you work passionately and intensively, it can get carried away. In such cases, it is also important to distance yourself from time to time.
“I’ve been doing this job for 20 years. Sometimes you have to let go. Not only to give, but also to receive.”
She considers collaboration with other artistic designers to be extremely important. At best, you reach a flow state and are on the same wavelength.
“The most wonderful thing about this job is that you have someone you can talk to all the time! Even though compromises are made, you are left with a good feeling knowing that we are all heading towards the same destination.”
