Introduction to Drama and Theater
Scenic Design
Mood and Spirit of the Play
Mood refers to the dominant emotional quality of the production
Spirit refers to the production concept—the way the director and designers have decided the play
should be presented
The designer needs to incorporate some elements that suggest the emotional characteristics of the play
An intense tragedy should have hard lines, sharp angles, and dark colors
A gentle romance should use soft curves and delicate colors
Locale of the Play
If the design style being used is based in realism, then locale needs to be a consideration
Geography and climate have a significant impact on the design of buildings and their furnishings
When establishing locale in the interior of a building, a designer should take into
consideration the time period as well as the socioeconomic background
Decorative properties and floor treatments can help create a believable environment
Socioeconomic Level and Personality of the Characters
- Most realistic sets give some indication of what sort of characters will inhabit the environment of the play
- The designer normally uses set and decorative props as tools to achieve this effect
A living room decorated with inexpensive yet tasteful furnishings suggests one type of occupant.
One with expensive yet gaudy furnishings suggests another
Practicality of the Setting
1. Needs of the Director
The set design must follow the production concept of the director
The design must also accommodate the blocking and other stage business that the director has in mind
The director and scenic designer discuss these directorial needs during early production conferences
If the director wants the heroine to make a grand entrance down a flight of stairs, the designer must
place the stairs in a prominent position
2. Needs of the Actors
The set must function properly, efficiently, and as planned
It must provide a safe environment
Actors must be able to concentrate in order to perform properly
The last thing they need is anything that would break their concentration
Functions of scene design:
• Defines performance space
It should also be noted that the scenic
• Creates a floor plan
• Characterizes the acting space visually designer essentially “blocks” the play. All
• Makes a strong interpretational statement the action in the play must work around,
• Creates mood and atmosphere the architecture established by the design
team. So care forethought can resolve
Floor plan provides opportunities for: artistic and directional problems later.
1. Composition
2. Character Interaction
3. Stage Business
4. Movement
Kinds of SETS
BOX SET- Usually involves walls that enclose the playing space
Sets are usually realistic and detailed
Most modern sit-coms you see are TV are box sets
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Introduction to Drama and Theater
Scenic Design
UNIT SET- Composed of units that can be moved on and off stage
Most musicals are considered “unit” sets.
Most unit sets are aesthetically supported by drops, lit backgrounds, or projections.
SUGGESTED SET- these are suggested Environments.
Ideal design for non-realistic plays that may be concept and theme driven.
All theatre mixes and matches these essential approaches to scenic design.
The Scene Designer’s Assistants and Coworkers
• Design assistants: may make working drawings, construct models, search for furniture and properties
• Technical director: often independent of designer and of equal status; responsible for building,
assembling, and painting scenery
Working Plans and Procedures
Design process varies from designer to designer, but generally includes:
• Preliminary designs
• Sketches
• Scale model
• Final designs
• Perspective color renderings
• Floor plan
• 3-D scale model
BASIC SCENIC ELEMENTS
Soft-Scenery Units: Made of unframed cloth, suspended
• Drops: may enclose setting; may be painted with scenes
• Draperies: may mask the sides of the stage, may be painted and hung to create stylized backgrounds
• Scrim: specialized curtain made of gauze; opaque when lighted from front; transparent when lighted
from behind
• Cyclorama: any arrangement of curtains that surround the stage area on 3 sides
Framed Units:
• Flats: basic framed units; wooden or metal frame covered by a relatively flat surface of cloth or thin
wood; painted or treated texturally
• Screens: typical framed units since 1960s; rest on floor or are suspended; any shape or size; any
material; used for projection
INNOVATIVE MATERIALS AND METHODS
Use of nontraditional materials and unconventional structural methods
Styrofoam
Thermoplastics
Molded Plexiglas
Wood substitutes
• Steel, aluminum, other metal alloys
• Fiberglass
• Styrofoam and urethane
SHIFTING SCENERY ON STAGE- When using multiple settings, units must be shifted
o Methods: Manual: scenic units moved by stagehands
Flying: suspending scenic elements above the stage and raising or lowering them as needed
Wagon: a platform on casters
Revolve: revolving stage turned by electric motors
Elevator Stage: raises and lowers segments of the stage
Combination of methods used frequently
SET DECORATION AND PROPERTIES
• 2 types of properties:
• Set Props = attached to setting or function as part of scenic design
• Hand props = used by actors in stage business
TECHNICAL REHEARSALS, DRESS REHEARSALS, AND PERFORMANCES
• Technical rehearsals = focus on technical elements; ensure elements are functioning properly
• Dress rehearsals = allow scene designer to see settings in relation to all elements of production.
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Introduction to Drama and Theater
Scenic Design
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