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Introduction to Design • What is theatre? What makes theatre theatre? Now. • What is the difference between performance and production? Tomorrow. What is the difference between production/design and everyday life? Here Us Our • • • • Context Collaboration Choice/Intention Communication Wicked, scenic design Eugene Lee • Context – Given circumstances • What the text demands • What the production demands The Turn of the Screw scenic designer Robert Klingelhoefer Textual demands • Text is our framework. Most of what we do as designers begins with the text – Play text - words to be spoken and the stage descriptions concerning action – Performance text – characterization, space, action • What information can we get from the text? • Time – Why is the knowledge of time important for designers? • Esoteric reasons • Practical reasons • Historical reasons – Neoclassicism, Verisimilitude and the Three Unities (place, time, and action) Broadway Bound Old Globe Theatre Directed by Scott Schwartz Set Design by Ralph Funicello • Period – The historical age, decade, or era when the play is set. • Practical considerations – what does a 1950s typewriter, Roman toga, 1970s hairdo, Medieval chair look like? Why is this information important? Lion in Winter. Directed by Trevor Nunn, Design Stephen Brimson Lewis, Lighting Peter Mumford – Thematic considerations – people in other time periods had different motivations than we do, even though we cannot separate our modern sensibilities from the understanding of a text (Oedipal complex, modern ideas of racism and Othello.) This will change how the audience perceives the production and is something the team might have to take into account. – Researching the major intellectual/political/social/cultural ideas of the play’s time period will give insights into the motivations of the characters. Pacific Overtures, set design: Aronson – Knowledge of period styles will also be very useful if the production is removed from its time – conceptualized/modernized. La Boheme. Lyric Opera of Chicago. Director: Louisa Muller Set design: Michael Yeargan Costumes: Walter Mahoney Lighting: Duane Schuler Rent, the Broadway Tour. Director: Michael Greif Set Design: Paul Clay Costume design: Angela Wendt Lighting design: Blake Burba • Place and Locale – The environment inhabited by the characters. This is the context in which all action occurs. – This is not only the physical environs, but also the genius loci – the spirit of the place. A Streetcar Named Desire. Guthrie Theatre Scenic: Todd Rosenthal • In a play like A Streetcar Named Desire, the place is a small, messy, two-roomed apartment in New Orleans – summer, 1940s • The genius loci is a poor, run-down section of the city but with raffish charm. It is hot, muggy – a pressure cooker for the action that is to follow. Fertile ground for Stanley’s lust and rage and Blanche’s descent to madness. https://www.youtube.com/watch?v=56ExGsnLtP8 • Revelation of character – One of the most important because characters are the drivers of plot. Non-verbal communication by the characters – how they are dressed, how they walk, gestures, business, what they carry – allows the audience to understand the story more fully. Carmen. Boston Lyric Opera. Set: J. Conklin, Costumes: G. Berry, Lighting: T. Hase Threepenny Opera. Willamstown Theatre Festival Director: Peter Hunt Lighting Design: Rui Rita Set Design: John Conklin Costume Design: Laurie Churba Practical Demands • Budget, space - venue, time, personnel, method, equipment, materials. Sound of Music. Millburn Stone Theatre. Director: S. Lee Lewis, Lighting: David Allen, Costumes: Gale Bareham Sound of Music. Lyric Opera of Chicago. Director Marc Bruni Set: Michael Yeargan, Costume: Alejo Vietti, Lighting: Duane Schuler • Collaboration Anything Goes, scenic-Derek McLane, lighting-Peter Kaczorowski • Choice/Intention • Communication What does a production have to have? Jerzy Grotowski asked the same question. • Can the theatre exist without costumes and sets? • Can it exist without music to accompany the plot? • Can it exist without lighting effects? • And without a text? • But can the theatre exist without actors? • Can the theatre exist without an audience? “So we are left with the actor and the spectator. We can thus define the theatre as ‘what takes place between spectator and actor’. All the other things are supplementary – perhaps necessary, but nevertheless supplementary.” -Jerzy Grotowski Towards a Poor Theatre So why do we bother? What is design? What does design “do” for a production? What is design? • The telling of the visual story. • A physical representation of the world of the play or of the interior life of the play. • The realization of the playwright’s and director’s intentions in visual terms. • The interpretation and visualization of the text. • The shaping and filling of the stage space. • A collaboration by many artists towards an unified vision of a production. • Design is the look of the environment around the actor, the clothes on their back, the music in their world, light so they may see, the furniture so they may sit, and a million different pieces of the characters’ lives. Oleanna • Design is life. Design is the interpretation of life. Design is the fulfillment of life – the fruition of text, intention, and ideas. Gem of the Ocean – costume design - Constanza Romero • Design is reality – the creation of a specific reality made for a unique world that exists briefly. • Design can be anything or nothing – it can be a recreation or an interpretation. Quick definitions • Concept • Visual metaphor Concept • An idea. The meaning behind the words. • Concept goes deeper than mere representation. 'One and Three Chairs‘ Joseph Kosuth Visual Metaphor • When one object is used to stand in for another. • Metaphor usually leads to a greater understanding of what is being conveyed. Umberto Boccioni, Unique Forms of Continuity in Space (1913) Funeral of the Anarchist Galli by Carlo Carrà, 1911 Theme • Theme is the intellectual aspect or the main idea contained in the script – its what I mean when I ask, what’s this play about. • The theme is typically universal – most readers can agree on the main theme. • Theme is partially communicated through subtext – the meaning behind what the characters say and do. • Think about WHY. The Crucible Mood • The emotional impact on the audience – how we feel when we see a play performed. • Atmosphere, ambiance, immediate reaction, visceral response. • Mood is intensified in climatic moments. • Lighting and sound design are the two design aspects that link directly and unintellectually to mood. Macbeth Style • Method of expression, how the piece is written/presented – Literary • Abstract or realistic, stream of consciousness or naturalistic – Artistic • Based on artistic movements- symbolism, surrealism, expressionism, cinematic – Period style • Ancient Greece, modern France, the future, the 1920s • The style, whether textual or conceptual, must be clearly presented in the design. Genre • Category of expression – comedy, tragicomedy, melodrama, romance, musical theatre, farce, satire • Each of these have their own mode of expression, but they are rarely purely one thing or the other – Hamlet is considered one of Shakespeare’s funniest plays Areas of Design • Scenery and props – the stage picture, including realistic elements like walls, doors, windows, stairs and non-realistic, conceptual elements. • Also included under the umbrella of scenery are props, set decoration, furniture, scenic art, and sometimes even the alteration of the stage house itself. Costume • The clothing of the CHARACTER, not the actor. • This includes hair (or wigs), make-up, shoes, masks, jewelry, gloves, purses and wallets (sometimes), umbrellas (sometimes), and hats. Lighting • The design of the illumination for a productions. This includes stage lighting from lighting instruments and “practical” sources on the stage itself. Sometimes the lighting designer is also in charge of any projection design as well. Sound • The design of the audible elements of a production. This includes not only practical sound effects, but also atmosphere noises and music, underscoring, AND the placement of microphones and speakers. Crossovers • Umbrellas, wallets, luggage, purses – could be costumes, could be props. • Lamps, ceiling fans, hanging lights – could be lighting, could be scenic/set dressing. • Period mics, musical instruments – could be props, could be sound. • Masks and puppets – could be props, could be costumes, could be its own area. • Projections – could be scenic, lights, or even sound. Scenography • Scenography is a holistic approach to design. It is the creation of a stage space as a complete whole. • A scenographer is called to create all or some of the design elements and to collaborate with the director to develop the first thoughts about a work. • Scenography goes beyond decoration into the realm of creating a total unified vision of a production. • As the departmental designer, I am a Scenographer. Chain of command #1 Producer/ Board of Directors Artistic Director Playwright Managing Director Director Production Manager Stage Manager Actors Production Budget Scenic Designer Costume Designer Technical Director Costume Shop Supervisor Lighting Designer Sound Designer Production/Master Electrician Sound Crew Development and Marketing Box Office Set Designer Technical Director Props Designer Scenic Charge Props Master Scenic Artist Props Artisan Props Carpenter Prop Assistants Painters Touch-up Artist Scene Shop Supervisor Master Carpenter Carpenters Riggers Stage Crew* Deck Captain* Deck Carpenter* Costume Designer Wig Master/Hairstylist Costume Shop Supervisor Dyer/Painter Make-up designer Cutter/Draper Shopper Craftsperson: Armor Millinery Jewelry Prosthetics Make-up Effects Wardrobe Mistress/Supervisor Wardrobe Crew* Dressers* First Hand Stitchers Lighting Designer Sound Designer Master Electrician/ Production Electrician Sound crew Sound board operator* Electrician Deck Electrician* Light Board Operator Stage Manager Assistant Stage Managers Production Assistants Stage Crew Wardrobe Mistress Production Stage Carpenters Dressers Electrician Flymen Light Board Op Production Manager Production Assistants Housing Manager Sound Crew Sound Board Op Design Process • Read the script / Analyze the script – Once for feeling, once for fun – Twice for images, moments, and incidents – Three times for information • Make notes about specifics and generals • Prepare a list of questions • Research – Historical/Practical – Precedent – Conceptual/Emotive • Generation – Sketch, sketch, sketch – Mini-models, swatches, effects, images – Meetings, meetings, meetings • Implementation (aka. Into the shop) – Meetings, meetings, meetings – Production model, draftings, working drawings, paint elevations, prop drawings. – Renderings, shopping, patterning, detailed drawings. – Light plot, cue sheets, hang and focus. – Sound cue generation, cue sheets, prep the space. • Fruition – Technical Rehearsal – Dress Rehearsal – Opening Night – Strike • Evaluation – Critique – Archive Why study design?