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Set Design Introduction
How to Design a Set for the Theatre
There are EIGHT parts to this page:
Part 1. The Set Designer
Part 2: Choosing a Venue
Part 3: Set Design Activity
Part 4: Cheating The Space
Part 5: Designing For A Real Play
Part 6: Design Style
Part 7: Set Design Activities
Some Additional Reading
Part 1: The Set Designer
How to Design a Set for the Theatre
Introduction
The role of the Set Designer is to create the illusion of a specific time and place, inside a
theatre. Basically, a Set Designer plays “Epic make believe”.
Usually, the director or playwright gives the Set Designer a description of what is required to
stage a play. It is then the job of the Set Designer not only to recreate the actual location, but
also to make it look realistic as well as eye appealing.
Sometimes, a playwright gives a detailed description of the set However, often, a Set Designer
must glean what is needed for the play from simply reading the work. Either way, the better the
Set Designer knows the script, the more realistic the set will be.
In essence, a theatrical venue is any space with a division between the performance area (the
stage) and audience area (although in some types of theatre there is no division). However,
whether the room is a large auditorium, like the Princess Of Wales Theatre; a mountainside, like
theatrons in ancient Greece; or a small Black Box Theatre, like the Albert Campbell Drama
Studio, the performance spaces, and audience spaces have similar characteristics. That is, the
audience area has seats, and the performance area has a stage. Also, there is typically a division
between the two areas–often a curtain, sometimes just a proscenium arch, perhaps a simple line,
or even a different elevation.
Btw, I did my first performance the first year Canada’s Wonderland opened, when a magician,
who was walking in front of Dragon Fyre asked for volunteers, and brought me up onto the
stage, which was simply a raised garden bed.
Walls, Walls, Walls
Theatrical sets are constructed on a stage…but a stage typically lacks walls (the theatre has
walls, but the stage INSIDE of the theatrical venue does not). This means the Set Designer is not
only responsible for deciding the placement of furniture and creating a realistic look for the set
of the play, they are also responsible for the layout and arrangement of the walls that will make
the backdrop for the set.
To do this, the Set Designer creates a design called a GROUND PLAN (a layout for a backdrop
or walls of a play) by arranging and connecting a series of flats (small sections of walls). There
are commonly three types of flats:
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Wall flats (a small section of a wall)
Window flats (a flat with a built-in window)
Door flats (a flat with a built-in door)
How to draw a door in a set design:
How to draw a typical window in a set design:
Of course, there are many other types of flats and set elements, including fire places and such.
In addition, a Set Designer uses stage risers, as well as steps and stairs, to elevate and accentuate
specific areas of the stage.
To Do:
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Using the icons above (and your imagination for other elements), can you draw your real life
bedroom ground plan (from a bird’s eye view perspective)?
Can you draw your bedroom as a ground plan for a theatrical set?
Setting Notes
As started in the introduction, most often a Set Designer will be given notes from a playwright
(or director) about the time and place that needs to be created. The notes typically relate the
playwright’s original artistic vision for the play.
For example, the play “Windfall” by Canadian playwright Norm Foster takes place in the present
time, in the games room of a wealthy family home.
It is then the Set Designer’s responsibility to bring that vision to life by erecting flats into a
backdrop that indicates a wealthy–read: large–family home. The Set Designer also situates
doors for entrances and exits within the backdrop, and this is done either as the needs of the play
dictate (during the play a character retrieves something from the kitchen…), or in order to work
within the stage facility (perhaps there is a size restriction, or the limited access to backstage).
Furniture and Set Pieces
The Set Designer is also in charge of arranging furniture and set pieces that are required for the
staging. The set pieces must comply with the needs, as well as the artistic vision, of the
play. When minimal setting notes are given, a Set Designer must create his or her own artistic
vision in order to realize what he or she feels was the original intent of the playwright.
A good Set Designer also imbues a set with their personal style as well.
Next Steps
You are going assume the role of Set Designer for a play that takes place in a generic living
room. You will use standard flats and risers to design sets in Albert Campbell’s two
performance venues. When you are practiced at designing sets, we will build actual sets that
could be used for theatrical productions.
Some Links:
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Check out what Toronto based LaFrance Design does…
Read what Dramatics.Org has to say about set design
There are jobs for Set Designers in Toronto
When you Google “Set Design”…AWESOME
End of Part 1
Part 2: Choosing a Venue at ACCI
Introduction: ACT Performance Venues
At Campbell, there are three theatrical performance venues: The Drama Studio,
and Cafetorium, and the Forum. Most often, theatrical productions like plays and musicals are
performed in the Studio or the Café. The Forum is less suitable for theatrical productions for a
variety of reasons (cannot be locked, too large, poor acoustics…), and is best suited to variety
shows and assemblies.
When designing a set for a play, you must first decide on the best venue, and need to choose the
space that is most conducive to your show. In general, smaller plays are performed in the
intimate space of the Drama Studio, while Broadway musicals are performed in the larger, more
formal Cafetorium.
The Cafe vs The Studio
The Cafe stage is a formal Proscenium Stage, with a large audience capacity, and a more
institutional feel, while the Studio is a small Black Box theatre, with a small audience capacity
and intimate feel.
However, both spaces can be adapted, and a Set Designer makes the final decision about the
space.
Both stages at Campbell are approximately 24 feet wide, by 20 feet deep.
The Forum
The Forum is great…but has many challenges to consider. Security, acoustics, size, focal point,
layout of space, and so on. Think about the space compared to the Cafe and Studio…
Using Flats and Risers
Whether in the Cafe, or in the Studio, the Set Designer is required to erect flats to create a
backdrop, and arrange risers to accentuate a space and/or elevate a part of the stage
All flats and risers at Campbell are modular (compliment each other) and come in standard
sizes.
-All flats are 8 feet high, and either 2 or 4 feet wide. Flats are either solid, or have an opening
for a door or window.
-All risers are made with a standard sheet of plywood as the top, which is 4 feet wide, by 8 feet
long, and are 15 inches high.
-Steps and stairs come in a variety of sizes.
When creating a ground plan (theatrical set arrangement), flats and risers are drawn to scale with
one another.
The basic order of tasks when design a set is as follows:
1. Read the play
2. Study the Set Description (if available)
3. Make a chart with the required set elements
4. Design the ground plan
5. Build, paint and dress the set
After choosing a venue, your job is to do all of the tasks above, except #5. NOTE: You can also
make a landscape drawing of your set.
To Do:
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Think about the various strengths and weaknesses of each space: suitability to the production;
technical elements (sound and light system, curtains…); proscenium theatre, black box, multi
use space; security concerns; audience size and configuration, and facility booking/conflicts.
End of Part 2
Part 3: Set Design Activity
Introduction: The Living Room
Your job is to design a set for the following play description.
Btw, when you read the description, you’ll note that some of the locations are exact (“There is a
couch CS”), while some are relative to other locations (“DS of the sink”), and some are even
almost vague (“just inside the door).
A Play In A Living Room
This fictional play takes place in the living room of a normal, everyday home.
1. There is a large couch located CENTRE STAGE (CS).
2. There is a coffee table DOWNSTAGE from the couch.
3. On both sides of the couch are end tables.
4. The entry door is located DOWN STAGE LEFT (DSL).
5. There is a bench on the wall, just UPSTAGE from the entry door.
6. There is a bookshelf on the wall UPSTAGE CENTER (UC).
7. A desk, with a chair is located DOWN STAGE RIGHT (DSR).
8. STAGE RIGHT (SR) there is a door that leads to the kitchen.
9. UPSTAGE of the kitchen door, there is a small table against the wall.
10. There is a plant in the UPSTAGE LEFT (UL) corner.
11. A small floor mat is in front of the door.
As a Set Designer, you must first make a chart of the required set elements:
Set Element
Location
Large couch
CENTRE STAGE (CS)
Coffee table
DOWNSTAGE of couch
End tables
both sides of couch
Entry doors
DOWNSTAGE LEFT (DSL)
bench
on wall, UPSTAGE of entry door
bookshelf
on wall, UPSTAGE CENTER (UC)
desk
DOWN STAGE RIGHT (DSR)
Door to kitchen
STAGE RIGHT (SR)
Small table
UPSTAGE (US) of kitchen door
plant
UPSTAGE LEFT corner
Floor mat
in front of door
Next, you can sketch a ground plan drawing of the set.
NOTES: Draw a three sided rectangle (with the audience on the open sided bottom, and
remember that stage directions are always listed from the performers perspective.
A Quick Note About Doors: What’s Behind the Set?
Be careful with doors and windows. Sometimes, doors need not even be seen, and an entrance
can be through a “hallway”. However, when using a door, it is important to consider the door
swing.
That is…
Which way does the door open: onto the stage, or backstage?
Also…
Which direction does it open; with the door facing the audience when it is
open, or an opening that reveals backstage?
If you look at the drawing above, you can see the upstage door leads into a false hallway. This
means when the door is opened, the audience will see the wall of the hallway. However, on the
stage right wall, there is a set of double doors leading to…backstage. When designing and
constructing the set, it’s always important to pay attention to what the audience will see.
As a default, doors can open away from the sight line of the audience so that the audience does
not see back stage when the doors open. If the audience can see into a doorway when it is open,
you must “mask” (cover) the backstage area with additional flats that are painted and dressed to
look like the area into which the door opens. The same principle must be used with windows. If
the audience can see it, it must look real.
So, when you draw a set, be sure to also draw the masking flats that are upstage of windows and
doors.
To think about:
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Try to design with wndows and doors–they make the space more interesting
Don’t be confined by specific set directions if they simply do not work in your space;;stay
true to the playwright’s vision, but you have to live in the real world.
Familiarize yourself with stage directions, and become accustomed to visualizing the set from
above, with the correct perspective (left-right).
Want a memory tool for knowing which side of the stage is UP or DOWN? The audience sits
DOWN (and that’s the Down Stage line)
To Do:
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Draw “A Play in a Living Room” set.
The set pictured above is a terrific example of an awesome theatrical set. It has depth, colour,
texture, and terrific aesthetics. In what type of house or building might you find this set? Can you
guess the time period of the play? How about the set dressing?
End of Part 3
Part 4: Cheating The Space
Introduction: Creating Interest and Aesthetics
While the set above is accurate and contains all of the required elements, it is boring. In real life,
most rooms are square or rectangular because they have to fit into the larger structure of a house
or building (which is also square). In the theatre, our sets are not part of a greater structure,
therefore, we can make any shape room that not only fits our specific needs, but presents the play
in an artful manner that is creative and aesthetically pleasing. Moreover, a set lacks a fourth wall
(because that’s where the audience sits), and must be designed so that it is “open” to the
audience. This is called cheating the space.
A Living Room
If we were to sketch an actual room as it appears in real life, there would be four walls, and no
audience. However, when we create a theatrical set, we can draw flats that are arranged in a
more interesting way, and when the room is a set, we can make it as theatrical and as interesting
as we wish. Typically we base the “shape” of the set on an inverted “U” shape that tapers as it
moves upstage, creating improved sightlines, and a more interesting set.
But that’s not all!
The Next Level
Most rooms in real life are on one level. In the theatre, Set Designers can create sets with
elevated areas that accentuate certain areas and create even more eye appeal. When we put an
area of the stage on risers, it not only gives eye appeal, but the elevated area can provide
importance or distinction. For example, an elevated entrance can allow performers to make a
grand entrance…or a notable exit! Steps can also be added to assist the performers as they step
down into the rest of the set (or even to indicate a second level of the set.
Keep in mind that elevated areas need not be a second floor. In fact, at ACCI, we lack the
headroom for a two-tier stage, so it’s not possible in our Cafe or Studio venues. Also, a second
story has a multitude of safety challenges. Instead, think about using risers for slightly elevated
playing spaces, like a front door area. The risers we typically use are only 15″ high (about
40cm), and require one step to get up.
However…when we use a small set of steps on stage that disappear behind a wall (and don’t
actually show the second floor) we can create the illusion that the set is part of a larger structure.
Hmm. Pretty cool, eh?
Okay, so this set might be a bit challenging for a school production…but you get what I mean.
To Do:
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Draw a ground plan for your future apartment. You know, the one that’s in an expensive
condo building downtown…overlooking the water…and maybe it’s two levels (or possibly
has a sunken area to it).
End of Part 4
Part 5: Designing For A Real Play
Norm Foster’s “Windfall”
The play “Windfall” was written by Canadian Playwright Norm Foster. “Windfall” is a play
about an older couple who win a large sum of money in the lottery. The play opens with the
husband and wife entering their house from their backyard, which has a three hole golf
course. Below is a copy of director’s staging notes from the play “Windfall”.
Windfall
Norm Foster
Time: Present Day. A Friday morning in early October
Place: The action takes place in the games room at the home of Walter and
Louise Brooksiode. The home is a mansion and the room should typify the
rest of the house. DL is a small table set against the wall. On the table is a
chess st. U from the table is a set of double doors which lead out onto the
backyard. UL is a bar and three bar stools. On the bar is a cordless
telephone, and on the wall behind the bar is a wide variety of bottles and
glasses. UC, and just to the right of the bar is a set of stairs which disappear
behind the wall. They lead to the second floor. UR there is a very large
cabinet which holds all sorts of games. Behind the cabinet is a wall, and
behind the wall is an exit which leads to another part of the house including
the kitchen. O the wall UR, just down from the cabinet is a dart board. The
rest of the living room area is sunken a couple of steps. DR is an exit which
leads to the front part of the house. D from this exit is a pool cue rack which
holds three of four cues. Out from the wall there is a high director’s
chair. Walter sits there when it is not his turn to shoot. A small bumper pool
table is R, and DL is a games table with four comfortable chairs. The room
is filled with plants. Wherever there is space, there is a plant.
As you’ll note in the staging notes from the play that the playwright is very specific about the
placement of furniture and doors (“D.R. is an exit which leads to the front part of the house”),
the time (Present day…”) the style (“The home is a mansion…”), and the overall look of the
games room (“Wherever there is a space there is a plant.”). Also, the playwright makes a note
about an elevated section of the stage. The Set Designer must now use this information to create
a set as it was envisioned by the playwright (using the Set Designer’s personal flair and style as
well.
Task 1:
Make a chart listing the required elements.
Set Element
Location
Task 2:
Make specific notes about the set description (ramshackle hut, wealthy mansion, style of
decor…)
Task 3:
Draw a rough sketch of the required set elements for Windfall.
Task 4:
Draw a Good Copy of the set.
Using the rough sketch as a guideline, design a more interesting set. Be sure to create an
interesting backdrop, and include an elevated portion of the stage. Since you are the Set
Designer, you can add elements that you feel adds to the overall look of the play, while
remaining true to Norm Foster’s notes. For elevated areas, shade the risers.
End of Part 5
Part 6: Design Style
Introduction: You the Stylist
Theatrical sets can be designed either in a Presentational, or Representational manner. That is to
say, a set designer can either present the actual location of a play in a realistic manner,
or represent the actual location.
Presentational Design Style
A Presentational set looks most like the actual location. On stage, a presentational set basically
transplants a room onto the stage. Presentational sets are commonly seen on television
sitcoms. That is, if the play or show takes place in the living room of Sheldon and Leonard, the
audience sees a precise and realistic looking living room design. Of course, it’s a set, so there is
no fourth wall (because that’s where the audience/cameras are located.
For example, below is what we see when we watch the Big Bang Theory
This is what the set looks inside the television studio. You can not only see the lights and the
actual area above the set, but also the location of the invisible fourth wall.
Representational Design Style
Representational sets use staging elements and props, as well as lighting effects, to represent a
specific area. Representational sets can be abstract in appearance or simply a generic location. A
representational set often relies on creating the mood of the play or relating to the theme of the
play visually.
Sets can also be designed with a combination of both presentational and well as Representational
elements.
Presentational Set
The play “Windfall”, which was produced at Campbell in June 2012, is an excellent example of
a set that should be built in a presentational style because the play takes place in one location, the
set is simple to build, and the audience can easily relate to a living room. However, not all plays
are as simple to stage…
Representational Set
The play “Kiss The Moon, Kiss The Sun”, also written by Norm Foster had much different
requirements. The most notable is that it takes place in four different locations. In order to stage
a play that occurs in multiple locations, the Set Designer must be even more creative. In larger
theatres that have a flyspace, it is possible to fly backdrops onto the stage for each different
set. However, without a flyspace, the Designer must find a way to design four different sets that
can easily transition from one another.
The locations were:
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The living room of Holly, a young woman;
the dining room of an older mother, Claire, and her twenty something son, Robert;
a doctor’s office; and
a bus stop.
The solution for the design team at Campbell was to stage the play in the Cafeteria, and create
small sets on movable risers. Each small set had only the required elements for the particular
scene, and was rolled onto the stage as needed. Each mini set had open sides, and the backdrop
was the city scape cyclorama, which was lit depending on the time. This created a presentational
element for each set, within a larger set that represented a city.
Assignment: Kiss The Moon, Kiss The Sun” has four distinct sets:
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A bus stop,
Claire’s dining room room,
Holly’s living room
The Doctor’s office
You are going to draw four representational landscape sketches of each set for the play. A
landscape sketch is drawn from an audience view. Each set must be constructed from a
maximum of five stage elements. No flats can be used.
To Do:
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List the five elements for each set
Draw a landscape view of each set
To Do:
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Think about the various strengths and weaknesses of each space: suitability to the production;
technical elements (sound and light system, curtains…); proscenium theatre, black box, multi
use space; security concerns; audience size and configuration, and facility booking/conflicts.
Something Else to Think About:
Symbolism…
Whether a set presents or represents a space, it is always nice to use symbols, themes, or motifs
to augment the play…to Tell the Story.
For example, the same way a lighting designer uses light to reflect mood, a set designer can
implement subtle, or not-so subtle touches, to impact and support the story. In the musical West
Side Story, much of the action takes place in a concrete jungle. A set designer might recreate an
actual jungle made of concrete…or use high brick walls…to signify the environment. In essence,
the set might trap the eyes of the audience in the same way the characters are trapped in the
bowels of poverty in New York City.
More on Metaphor:
If the theme of a play is the joy and beauty of nature, a set designer could use flowing water on
stage, natural elements, and fauna, to symbolize life, beauty, and joy. If the play is about the
boredom of bureaucracy, a set designer might scatter paper and forms and computers around the
stage. This type of design approach allows the audience to connect to the play before even a
word is uttered.
End of Part 6
Part 7: Set Design Activities
Activity #1: Design Your Dream Bedroom/Gameroom/…
Draw a ground plan/set design for your ultimate sanctuary. Your set must have at least two
doors, and two levels. You should make notes, draw a rough copy sketch, and then draw a good
copy.
Activity #2: Design a Theatrical Set
Using the Set Description from the play of your choice, design a set that can be built in the
Drama Studio. Draw a ground plan and landscape sketch of the set.
Notes:
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You must draw your set from a bird’s eye view
The set should be drawn in the presentational style
Your design must have two levels.
Set pieces (flats, risers, and major furniture) must be drawn to scale
The Drama Studio “stage”, and the Cafeteria stage are both approximately 24 feet wide by 20
feet deep.
When designing, don’t forget the required paperwork before you start your ground plan:
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Make a chart the required elements, along with their respective locations.
Create an interesting configuration of flats
Draw a rough sketch of your set from a bird’s eye view
Draw a good copy of the ground plan for your play.
Activity #3: Set Design Quiz
Draw a stage and label the 9 staging areas:
On the diagram above, draw the following:
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door to kitchen SL.
window on the UC wall
opening to hallway with stairs, USR
an exterior door, situated on a landing, UL
A sofa, coffee table, and side tables CS
A bookshelf US of the kitchen door
A small table R of the US window
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two plants: One L of the exterior door, and one DS of the kitchen door
an armchair UL
A small writing table DR
Activity #4: Draw a Set for a Simple Scene
Using one of the Grade Nine Scene books, or similar, select a scene, and design a suitable
set. Please note there is no set description listed, aside from a brief description of the basic
needs. It is your responsibility to create the set using everything that you’ve learned in the past
few weeks. Make sure to read the script to ascertain the actual needs of the scene
Remember:
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Your ground plan must include a raised portion of the stage.
It must have at least two entrances
It must have at least one window
It must include a hallway that leads to a different location.
Aside from walls, the objects on your set should either be labeled, or identified with a legend
if not obvious.
Remember to write your name and the name of the play at the top left corner, and the version
of your design on the top right corner.
Before you start:
Think about elements that you’ve seen in the various assignments leading up to this
quiz. Remember that you can include elements that are not listed in the play. Finally, be
creative. Your set design should be functional as well as innovative.
Assessment:
Your quiz will be marked based on the following:
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Neatness and clarity of design
Application of theatrical techniques
Inclusion of required elements
Your signature (awesomeness, perfection, metaphor…)
Overall creativity
You have a period to complete the ground plan. When finished, staple your work in the
following order, starting from the bottom:
1.
2.
3.
4.
The script
All rough sketches
Good copy of ground plan
Good copy of landscape design
Activity #5: Set Design for “The Young, The Bold, and the Murdered”
Read the set description for the play “The Young, The Bold, and the Murdered”.
There are basically four different “sets” needed for the play. Since each of the sets needs to
either be on stage throughout the play (or easily moved–and therefore highly portable and small–
during the play), think about taking designing a set of REPRESENTATIONAL vignettes.
Why do you think the set(s) should be presentational or representational? Explain your answer,
and provide reasons/examples to reinforce your decision.
Next, create four 4 separate ground plans of representational sets (VIGNETTES) for the
play. The four sets required for the play are:
1.
2.
3.
4.
A”room” (based on the one we designed yesterday)
A small “kitchen”
A hospital room with two beds
Backstage (of the television studio)
The director has also requested a door on set to show a point of entry onto the set of the soap
opera.
On each ground plan, make notes on colours, texture, and material that you will use.
To Think About:
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What four pieces of information guided you set decisions.
How did you use texture and colour to reflect the content of the play?
What does it mean to say the play is a set within a set?
What’s Due?
A Set Designer package with the following:
1. Planning notes and sketches (rough sketches for two versions of the set: ground plan/bird’s
eye view drawing, landscape drawing, and colour/texture notes)
2. Rough sketch drawings of four (4) different sets (ground plan + landscape view)
3. Good copy sketches of main drawing (bird’s eye view + landscape view) with colour/texture
notes
Remember
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Perspective
Proper icons
Legend if necessary
Texture and colour notes
The play is a murder/mystery comedy
It is a soap opera, set in a mansion of Valencio di Carpathio
It takes place in present day
End of Part 7
Some Additional Reading:
Part One: The Elements of Design
Part Two: The Principles of Design
Part Three: Telling the Story
Part Four: Creating the Mood
Part Five: Creating Composition and Focus
Part Six: Revealing the Space
Part One: The Elements of Design
There are a variety of design elements to consider when creating any work of art. The following
notes were taken from the internet, and edited/augmented by me. Unfortunately, the sources are
unknown, and therefore not cited.
Each of the following work in unison with one another.
The basic (not necessarily as they apply to the theatre) elements of design are:
1. Colour: Colour is used to portray mood, light, depth, and point of view. Designers use
the color wheel and the tenets of colour theory (a set of guidelines for mixing, combining, and
manipulating colours) to create colour schemes.
2. Line: Line refers to the way that two points in space are connected. Whether they’re
horizontal lines, diagonal lines, or vertical lines, lines can help direct the eye toward a certain
point in your composition. You can also create texture by incorporating different types of
lines such as curved or patterned lines instead of just straight lines.
3. Value: In design, value refers to the lightness or darkness of a colour. The values of a colour
are often visualized in a gradient, which displays a series of variations on one hue, arranged
from the lightest to the darkest. Artists can use the various values of color to create the
illusion of mass and volume in their work.
4. Space: Making proper use of space can help others view your design as you intended. White
space or negative space is the space between or around the focal point of an image. Positive
space is the space that your subject matter takes up in your composition. The spacing of your
design is important because a layout that’s too crowded can overwhelm the viewer’s eye.
5. Shape: In its most basic form, a shape is a two-dimensional area that is surrounded by an
outline. Set Design artists can use other elements including line, color, value, and shadow to
give a shape the appearance of a three-dimensional shape. There are three types of
shapes: organic shapes which occur naturally in the world, geometric shapes which are
angular and mathematically consistent, and abstract shapes that represent things in nature but
aren’t perfectly representative. We often use shape to paint the backdrop of a play, and
frequently do so in black paint on a white cyclorama (i.e., the outline of a city skyline for
“Little Shop of Horrors, or an outline of a barn, weather vane, and such for “Mending
Fences”).
6. Form: Form pertains to the way that a shape or physical configuration occupies space. Instead
of creating form through three-dimensional physical shape, designers create the appearance of
form on a flat surface by using light, shadow, the appearance of an object’s contours, negative
space, and the surrounding objects around the subject matter. The set pieces on a stage
contribute to a sense of form.
7. Texture: Texture is one of the elements of design that is used to represent how an object
appears or feels. More specifically, texture on stage gives not only a sense of depth, but a
sense of place (i.e., wooden floor vs marble, tapestry vs horizontal blind…). Up close,
texture is felt as tactile (a physical sense of touch), whether it’s rough, smooth, or ribbed.
Visual texture, on the other hand, refers to the imagined feel of the illustrated texture, which
can create more visual interest and a heightened sensory experience.
Part Two: The Principles of Design
In applying the elements of design, certain principles must be used if the results are to be
effective. The principles of design are 1) harmony, 2) variety, 3) balance, 4) proportion, 5)
emphasis, and 6) rhythm.
1. Harmony:
Harmony creates the impression of unity. Typically directors and designers seek to harmonize
the parts of each setting or costume and to relate the various settings and costumes in such a
way that all are clearly parts of a whole.
2. Variety:
If monotony is to be avoided, however, variety is needed. Similarly, directors seek both
harmony and variety through their choice of actors and through each actor’s use of movement
and gesture. Plants provide not only visual harmony but metaphorical harmony.
3. Balance:
Balance is the sense of stability that results from the distribution of the parts that make up the
total picture. There are three types of balance.
-The most common is axial, achieved by the apparent equal distribution of weight on either side
of a central axis (or stage). This type is especially pertinent to the proscenium stage, which may
be thought of as a fulcrum (or seesaw) with the point of balance at the center. Axial balance is
achieved if the elements placed on each side of the central line appear equal in weight.
-A second type of balance, radial, is organization that radiates in every direction from a central
point. It is especially important on arena and thrust stages because these stages are viewed from
several ang4s.
-A third kind of balance is usually called occult. It is especially pertinent to flexible and variable
staging, in which there may be no readily discernible axis or center. Occult balance results from
the relationship of mass to space and among unlike objects.
Balance, especially axial, may also be thought of as symmetrical or asymmetrical.
Complete symmetry in a stage setting creates a sense of formality and order; asymmetry, which
depends on irregularity; may create a sense of in-formality or casualness. In performance, when
the stage picture is constantly shifting because of the movement of the actors, directors must be
especially aware of balance and how it is affected by what the actors do.
4. Proportion:
Proportion involves the relationship between the parts of individual elements as well as the
relationship among all the parts that make up the total picture: the scale of each part in
relation to all the others; the relationship among shapes; and the division of the space (for
example, the length of a dress bodice in relation to the skirt).
Proportion can create the impression of stability or instability of grace or awkwardness.
Furniture disproportionate to the size of a room may create either a cramped or meager feeling.
Our perception of beauty or ugliness depends largely on the proportion of parts. In costume, the
manipulation of proportion can do much to change an actor’s appearance and enhance or
disguise attributes.
5. Emphasis:
All designs need a focal point, or center of emphasis. Directors are constantly seeking to
focus attention on what they consider most important and to subordinate the things of lesser
importance. A well-composed scene or design directs attention to the most important point
immediately and then to the subordinate parts. Emphasis may be achieved in several ways,
among them line, mass, color, texture, ornamentation, contrast, and movement.
The setting may make one area of the stage more emphatic than others; a costume may use
emphasis to draw attention to an actor’s good points and away from defects; movement within an
otherwise still picture will always attract the eye.
6. Rhythm:
Rhythm is the principle that leads the eye easily and smoothly from one part of a design to
another. All of the elements of design may be used for rhythmic purposes. Lines and shapes
may be repeated; the size of objects or the amount of movement may be changed gradually to
give a sense of progression; gradations in hue, saturation, and value may lead the eye from
one point to another; changes or repetitions in texture and ornament may give a sense of flow
and change; and the movement of the actors may increase or decrease in tempo.
Part Three: Telling the Story
The main function of stage design is to support the story of the play. Stage designers must create
sets, costumes, sound, and lighting to serve the purpose of the play. For instance, if the play
takes place in a diner, then the stage designer can easily recreate that diner on stage.
However, there is more to the art than just recreating reality. Usually there is a deeper meaning
within the story that connects with the designer and audience. It is the designer’s job to find this
point of view and express it through the art of design. This is where art departs from realism and
the design becomes more powerful.
Sometimes the stage designer will find a visual metaphor about the play.
For instance, if the play’s point of view is about restriction and frustration, then the designer
could use the metaphor of a brick wall that blocks the characters from reaching their goals. If the
play is about the drudgery and rigid schedule of school life, then the designer could use clocks,
locking devices, and bland colours. The metaphor type of design approach evokes strong
emotional reactions from the audience.
Part Four: Creating the Mood
The mood of a production can shift throughout the play. It is the stage designer’s job to help
support this mood. The best way to do this is usually through lighting. However, the set designer
must design a set that takes and reflects light so that the lighting designer can use it to project the
mood to the audience.
The costume designer can also create mood. Dark costumes can help evoke a somber mood.
Bright, colorful costumes can create joy and excitement. Highly tailored costumes can evoke a
feeling of order and restriction. Loose costumes can create a feeling of casualness and freedom.
Part Five: Creating Composition and Focus
As stage design is art, good visual composition is a necessity. This includes how large and small
items are arranged on stage. It also takes into account the line, form, texture and mass of all the
items on stage. Composition can create a feeling of order or unease, stability or chaos. In
addition, composition can be changed just by how the lighting designer lights and reveals the set.
As theatre is an art that occurs over time, the composition of the stage set can change from light
cue to light cue.
Focus is created through stage composition and lighting. The lighting designer can intensify and
darken different parts of the stage to guide the audience’s eye around the space. How the light
hits the set can also help direct the focus of the audience. In addition, costumes can create
composition though combinations of color, line, texture, and value. Combined, all the designers
create composition for each theatrical moment in the play.
Part Six: Revealing the Space
The stage designer can dramatically change the audience’s perception of the space. Reality states
that the stage itself is usually located in a large black box called a theater. Through the art of
stage design, the audience can be made to believe that the space has magically changed to an
endless natural vista, a dark claustrophobic box, or a single spot lit area. All this occurs through
the designers’ “dramatic imagination,” and is communicated through the designers’ craft to
stimulate the audience’s theatrical imagination.
As in mood, the dramatic space can be changed from moment to moment through creative and
imaginative stage lighting. The director, lighting designer, and set designer collaborate in the
planning of the set design so that these changes can occur. Through this collaboration, the
director can utilize the stage design to tell the story of the play.
So in tandem with the director, stage designers serve as creators of the visual world of the play.
Through the artistic creations of the designers who create the world the actors live in, the
audience receives a powerful and emotionally charged theatrical and worship experience.
END
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Posted on October 19, 2020By teamcolinblogPosted in Uncategorized
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