The following images were used as inspiration for the designers of Purgatory In Ingolstadt.
Please note – most of these images were sourced from other places throughout the research process.
We do not claim copyright over this material.
Scenic – Drew Foster Costume – Kate Friedberg Lighting – Anna Martin Sound – Jennifer Peterson Video – Simon Harding
Purgatory contains its players in a liminal state. The lighting will oppress the players in the space. The color will be variations of white to feel static as if they have not progressed in their lives. The angle of light will be very important to reflecting the energy of the different scenes. The light will move through the space like a ticking clock in wedges.The space should feel stark and austere. The outer box will be dark. Only the corners will be lit to draw the audience into the space and choose which direction they want to enter. Utilitarian lamps will hang in disarray in these corridors.
The world of this play is divided into two worlds: the world inside the box and the world outside the box. Two different acoustic environments will represent these worlds. The inside environment will embody Germany melodically. Just to name a few genres, we will use religious music, traditional German marching tunes, opera, polka, and folk songs. The sound from the inside environment will be clearly sourced to inside the box. Effectively, the music must “escape” through the portal. The world outside the box will be very different. It will be a sparse environment, created with drones and muffled murmurs. These sounds will come from around the audience and will “push in” on the box. The sound will echo the trapped nature of the characters in Ingolstadt.
– Jennifer Peterson