Stage Design

(The focus here is on Stage Design, although this process applies to all of the areas of theatrical design)

Commitment

• Whole-hearted commitment to the project with an approach to design "challenges", rather than design "problems".
• Commitment to flexibility and the design ensemble.

Analysis

• (gather information and identify areas that will require further research)
• Design Meetings (on-going meetings with other members of the design team, i.e.: the producer, director, and fellow designers to discuss: production style, concepts, budget, schedules, venue, demographic of the audience, etc.)
  • Development of production concept using visual references, i.e.: rough sketches and photos to inform discussions around
  • acting style, acting areas, colour, visual motifs, atmosphere, history, etc. o    Draw on the thoughts, feelings and plans of design colleagues.
• Script Analysis (using distinct lenses)
  • 1st Reading – uncovers flavor of the play, story line, nature of characters (socio-economic status, interrelationships), and consideration of the physical environment.
  • 2nd Reading – specific moments and incidents which stimulate imagination and evoke strong visual and textural images and feelings, e.g. “He is rough like burlap”. Keep a notebook on hand at all times to jot down ideas/make sketches/record challenges/questions.
  • 3rd Reading–specific mechanical information, e.g.: number of sets, how scene changes need to happen, doors that need to open (practicals), special effects (SPFX) - all in relation to budget and schedule. o    Create Script Breakdown – detailed breakdown of the play by acts, scenes (including actors in each scene, their entrances and exits, props, and specific actions), any spfx, rigging, etc.
• In the Analysis portion of the design process, the scenic designer:
  • is concerned with excavating clues to develop the visual expression of the mood and spirit of the play, that is the dominant emotional quality of the play and the production concept respectively, as determined by the director, producer, and various designers.
  • addresses areas to be researched such as: the historical period of the play, the locale, the socio-economic status and personality of the characters, and the season of the year. o considers the needs of the director and the actors (including function and safety), the technical demands of the production, the budget, and the production schedule.
  • considers the complexity of the construction demands and technical challenges of the play.

Research

• Background Research

  • Study historical period via books, catalogs, paintings, periodicals, Internet, public library picture collections, etc. of the era re. architecture, furniture, ornamentation, costume, colour, music, etc.
  • Review previous productions, i.e.: read about and look at photos, sketches, models (not for the purpose of emulating)
  • Colour Research, e.g., psychology of colour
• Conceptual Research
• Develop multiple solutions to specific design challenges such as set changes, e.g.: to illustrate scene changes on stage one could use separate sets, a unit set with lighting to denote each locale, have moving set pieces, or even have the audience move themselves. Remove perceptual blocks.
• As part of the Research step, the scenic designer:
• explores the elements and principles of design as they inform the evolution of the visual expression of the mood and spirit of the play.
• obtains existing accurate ground plan and centre-line section drawings of the theatrical venue or, if necessary, conducts a survey of the site to gather measurements and photographs with which to make accurate drawings. These drawings provide the information regarding stage configuration, sight lines, general stage equipment and any other aspects of the physical structure of the theatre/location.
• creates sight line drawings to determine the masking required to ensure the audience has the best possible view from all seats and that measures are taken to avoid seeing into the backstage area.

Incubation

• Give yourself time to let ideas hatch. Forget about the project and let the subconscious sort through the information gathered. Invariably, inspiration and solutions will come to the surface or at least point the way.

Selection

• Arrive at a final design concept. Sort through all of the accumulated data and decide on your specific design concept. Thumbnail sketches to explain the scenic concepts of the production along with colour charts and a functional maquette prepared by the scenic designer are needed by for all members of the team to be in sync. All designs must be coordinated with those of the other members of the team. Costume sketches and fabric swatches are provided by the costume designer, along with thumbnail sketches by the lighting designer and concepts/selections from the sound designer.

Implementation

• Upon approval, the scenic designer begins to produce all of the actual drawings, models, and instructions necessary to construct their scenic design. He/she:
  • drafts construction drawings, i.e.: ground plan, elevation, section, and detail drawings (in scale) by hand or using computer automated software, with notes that specify materials, colour choices, paint finishes, etc. All drawings are disseminated appropriately to the other members of the design team to inform their design work, e.g.: the scenic designer and construction head work together to ensure that all materials and labour costs fall within the approved budget; the lighting designer requires the plan and section drawings to determine the lighting plot; the stage manager uses a reduced ground plan to track the blocking/action of every scene during the rehearsal process; etc.
  • renders coloured perspective drawings of all of the sets in the production and/or a production model, i.e., a painted, in-scale model (usually 1⁄4” or 1⁄2” to one foot) of the set(s), complete with all furniture, decorative props, and if applicable, illustrating any scenic changes. It is situated within a simplified black model of the actual venue space. This maquette provides a 3-dimensional illustration of the physical space for the design team to use during discussions around action (blocking), lighting, technical direction, spfx, and stage management. It also acts as a reference for the construction and scenic painting crew. Moreover, in the beginning of production it is presented at the Meet and Greet to inspire the company and help the actors envision their environment.
  • creates painter’s elevations to show the colours and painting techniques the scenic artist and crew will need to reference.
  • creates in scale prop drawings for props that are to be custom fabricated by the props master, indicating material, colour, finish, quantity, and type of use.
  • is responsible for monitoring the progress of the build and installation all of the scenic elements. Intermittent attendance at rehearsals is advisable, as new challenges arise in the evolution of the work.
  • must attend all rehearsals during Tech Week to determine cues /levels, work out any glitches in scene changes and make alterations based on notes from the director and producer.
  • attends the final Dress Rehearsal.

Evaluation

Evaluation is ongoing throughout each step of the design process and upon project completion to determine what worked, what didn’t, and possible future applications. Examine the methods and materials, including the communication processes, used to reach the final design goal. Debriefing can be done as a team and individually.

Scenic Painting

Prepared by Irene KicaK

Scenery painting is a highly skilled and specialized function of creating a setting in a theatrical production. Most of the methods and techniques of using scene paint are familiar to anyone with visual arts training. The only difference between scenery painting and painting on an easel is the scale. The scenic designer carefully plans how the scenery is to be painted i.e. the use of colour. Not only must the scenic designer be able to use and mix pigments but also he/she must be familiar with the use of coloured lights.

The scenic designer creates the working palette of scene paint based on discussions with the set designer and the director. Scenic designers need to know the wide range of types of paint available. In choosing the type of paint to use, they must determine the types of surfaces to be painted. Some paints are general purpose while others are designed to be used in very specific situations. Toxicity of paint and dye should be considered when painting.

Painting ideas are expressed in painter’s elevations, which, unlike sketches, remove all the atmosphere of stage lighting to show true colours and exact form. Here is where the scenic designer must think through the appropriate painting technique and procedure for a design. The painter’s elevation is a scaled drawing showing in detail the line drawing (called cartooning), the actual colour, and a clear indication of the technique to be used. Painter’s elevation for most settings is done at 1⁄2” scale. The painter’s elevation provides clear information to the costume designer and especially the lighting designer, so that they have a full picture of what the set will be.

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