1. Scenic Design Designing Scenery for Theatre and Film

2. Robert Edmond Jones- 1915 A stage designer is, in a very real sense a jack-of-all- trades. He can design fireplaces and bodices and bridges and wigs. He understands architecture, but is not an architect: can paint a portrait, but is not a painter: creates costumes, but is not a couturier. Although he is able to call upon any or all of these varied gifts at will, he is not concerned with any one of them to the exclusion of the others, nor is he interested in any one of them for its own sake. These talents are only tools of his trade. His real calling is something quite different. He is an artist of occasions.

3. Scenic Design Scenic design (also known as stage design, set design or production design) is the creation of theatrical, as well as film or television scenery. Scenic designers have traditionally come from a variety of artistic backgrounds, but nowadays, generally speaking, they are trained professionals, often with M.F.A. degrees in theatre arts.

4. The Man Who Married A Dumb Wife Desire Under the Elms

6. What is a set designer? Architect Interior Decorator Painter Artist Historian (politics,arts,fashion,architecture,literature,theatre,film) Sculptor Model Maker Draftsperson Graphic Artist Schmoozer Detective Salesperson

7. The Script The content and style of the collaborative process will be strongly shaped by the needs of the individual script. Many productions are so specifically defined by the author, that to alter that reality would be to alter the meaning of the play. As you will see over time, some plays will need more discussion than others.

8. 8 Two Styles of Design Representational Design- presents the scene in a realistic way. Box Sets are one of the most common forms of representational design Presentational Design- acknowledges theatricality and does not attempt to recreate “real life”. Designs are more abstract or symbolic 8

9. Representational: For example designing THE NIGHT OF THE IGUANA starts with the very tangible given circumstances of the play. Tennessee Williams writes a lush description of the world he envisions and his characters speak of it often. The question of what the world looks like is refined from the start.

10. Shakespeare on the other hand is open to a wide variety of visual interpretations. The form of discussion will be influenced by the needs of the text as well as by the concept of the production. Time will need to be allotted for more complex visual concepts.

11. Eugene Lee- Wicked

12. Robert Wilson- Die Zauberflute

13. Existing Limitations In some production situations, there are given circumstances that shape the nature of the discussion of a play. Budget, calendar and people-power are obvious ones. Others include: Flexibility for a travelling production; Existence of a repertory set; Emphasis on a particular design element; Unique space restrictions. When discussing a project, known limitations are best laid out from the very beginning. They shouldn’t be the only point of discussion, but they will help define the dialogue.

14. Cirque du Soleil

15. The Steps a Designer Takes Takes on the project Reads the Script

16. Steps Continued… Researches the play or film –Who was/is the author? –What else did he/she write? –When did he/she live? –When was the play/screenplay written? –What was going on politically, artistically, in fashion, in theatre, in the world etc… –Have there been other productions? What were they like? –What’s been written or said about this work?

17. Steps Continued… Analyzes the Script –Place and Locale –Time Period –Themes –Mood –Messages, hidden meanings –Scenic Style –Social Status of Characters –Movement of Actors –Entrances and Exits –Set/Scene/Location Changes

18. The Play’s the Thing In the collaborative process, keep the focus on what is “good for the play.” Creative tension and differences of opinion can be the seed of great collaboration, but it is important to keep the focus on what is necessary for the succss of the play. Great collaborative forces colliding together, should not be an impasse, but rather should create energy that takes the project in a new direction. Director’s IdeaDesigner’s Idea New Idea

19. Steps Continued… Creative Collaboration: Discusses research, analysis, findings and personal opinions on the work with the director and the other designers. Takes Direction from the Director Artistic Vision is solidified Study the Performance Space

20. Proscenium Stage

21. Proscenium

22. Thrust Stage

23. In the Round / Arena

24. Black Box / Multipurpose

25. Open Air Theatre

26. Steps Continued… Sources of inspiration –Painters –Photographers –Sculptors –Architects –Nature –Storefronts –Interior Decorators –Animators –Magazines Places of Inspiration –Library –Bookstore –Museum –Internet –Fashion Stores/Malls –Outdoors/Nature

27. Steps Continued… Now the hands-on designing begins! –Tools to create and communicate: Collages Sculptures Rough Sketches/Thumbnail Sketches Paintings Rough/White Models Storyboard Photos/Photomontages Computer-aided designing tools

28. White Model

29. Steps Continued… Discuss, meet, argue, negotiate, figure it out, compromise with Director, Technical Director, other Designers, Producers, Writers, Artistic Directors etc… Come up with Final Design

30. Steps Continued… Communicate Final Design –Final Scale Model –Technical Drawings –Final Budget –List of Props and Drawings of them –Final Drawings –Final Storyboard –Finalized list of locations –Finalized critical path (timeline/calendar)

31. Steps Continued… Oversee construction, painting, assembling, sewing, sculpting etc… Oversee filming Oversee Tech Rehearsals Fine Tune details Attend the wrap party and maybe assist with the strike!

32. Groundplans The groundplan serves as the machine of the play. It provides obstacles and tension for the actors; it enhances the use of levels and depth for the director; and it serves as a “playground” on which the play unfolds during rehearsals. Some important rules of thumb for working on the groundplan: Find lots of interesting diagonals; Create spaces that are important to individual characters; Create tension through obstacles whether they are pieces of furniture, stairways, stumps or simply interesting levels. Defining this “playground” is as important as deciding what it will look like in elevation.

33. Elements and Principles of Design Color Shape Form Line Texture Space Balance Contrast Proportion Emphasis Rhythm Unity

34. The drawing here provided a sense of silhouette and shape. The complexity of a sailing vessel also invigorated the discussion of groundplan. The designer took the idea of a “voyage” and returned with visuals that captured a sense of history as well as aesthetics. Artwork and Discussion

35. Early sketches, imagined loosely on the Rep façade, began the process of placing the abstract ideas of sailing into a concrete space. The Move from Discussion to Design

36. The next step in the process of creating the visual world brought the work back to more concrete concerns. How would the sails and rat lines relate to the existing doors; where would elements tie off for safety reasons; could this be accomplished with the two hour turn-around for rep sets? At this step the Groundplan is still neutral except for a painting idea in the center.

37. As the discussions became increasingly concrete, details of how the set would work became greater and greater. In this image, the director’s notes and questions to the designer line the right margin of the sketch.

38. An additional platform was added so that actors creating sound effects could play in full view of the audience and for more space. On the downstage edge, nautical elements were added to create the sense of docks. On the façade, masts and rat lines were created to give the appearance of sails. As discussions of the groundplan evolved, some unique changes were made to the existing façade. Groundplan

39. Solidifying Designs This final sketch incorporates Groundplan and visual ideas.

40. Once the overall world of the play had gelled, the designer created individual sketches for the 10 or so unique scenes. In some cases John would create a sketch that the actors and director would imitate in rehearsal and in other situations John would create his sketch after seeing early improvisational work. This interface of scenic designer and actors within rehearsal is a wonderful opportunity to enhance the entire process. Final Renderings

41. Throughout the process, the use of simple sketches and a continuous flow of ideas made this project a success. Final Design