Scenic design also known as scenography stage design

Responsibility The scenic designer is responsible for collaborating with theatre director and other members

TYPES OF SETS Box set: Consisting of 2 or 3 walls and, perhaps a

Unit Set: Made in several pieces, or units, which can be rearranged to produce

Permanent Set: Remains is place throughout a production. Additional elements may be added to

Prism Set: Uses prisms, or periaktoi, three –sided flats mounted on a wheeled carriage.

Periaktoi • A Periaktoi is an ancient device, often thought to be of Greek

Curtain Set: Uses the cyclorama, or stage curtain, at the back of the stage,

DESIGN REQUIREMENTS A play’s scenery will depend upon the Ø Stage facilities Ø Available

DESIGN REQUIREMENTS ü SHOULD PROVIDE ADEQUATE SPACE FOR MOVEMENT, INCLUDING SEVERAL ACTING AREAS OR

DESIGN REQUIREMENTS ü Should communicate the time and place in which the action occurs

DESIGN REQUIREMENTS ü Audience should be able to judge the mood and style of

DESIGN REQUIREMENTS ü Should be technically usable and safe; doors and windows must open

DESIGN REQUIREMENTS ü Should be unified, balanced, and varied, and it should allow for

DESIGN REQUIREMENTS ü Should include set pieces that are functional and that contribute to

SETTING THE MOOD WITH COLOR v. White – pure, truthful v. Black – tragic,

SETTING THE MOOD WITH COLOR v. Violet (purple) – royal, mystic v. Blue –

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Scenic design (also known as scenography, 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.

Responsibility The scenic designer is responsible for collaborating with theatre director and other members of the production design team to create an environment for the production and then communicating the details of this environment to the technical director. Scenic designers are responsible for creating scale models of the scenery, renderings, and scale construction drawings as part of their communication with other production staff.

TYPES OF SETS Box set: Consisting of 2 or 3 walls and, perhaps a ceiling, is the most common theatrical set. Can be made to look very realistic, for example a room with windows and doors. Or can be a bland backdrop for non-realistic scenes.

BOX SET

BOX SET • FLOOR PLAN • SET DESIGN

Unit Set: Made in several pieces, or units, which can be rearranged to produce more than one setting.

4’, 6’, 8’ PYLONS

2 FOLD & 3 FOLD FLATS

STEP UNITS & CUBES

PLATFORMS & RAMPS

Unit Set Model Size

UNIT SET • FLOOR PLAN • SET DESIGN

Permanent Set: Remains is place throughout a production. Additional elements may be added to the set to imply a change in scene, but the basic structure always remains.

PERMANENT SET • FLOOR PLAN • SET DESIGN

Minimal Set: Profile set; usually made of two-fold or threefold flats that can be used to represent walls or hide and reveal furniture.

Prism Set: Uses prisms, or periaktoi, three –sided flats mounted on a wheeled carriage. Can be moved and individual flats can be inserted between prisms to create scenic elements.

Periaktoi • A Periaktoi is an ancient device, often thought to be of Greek origin, that is still used for stage scene changes. It is usually a triangular unit with (3) equal sides. Each side can have a different scene painted on it. When using more then one* Periaktoi in a row, it can look like a solid wall. When all the units are rotated to the second or third side, it reveals another scene.

Curtain Set: Uses the cyclorama, or stage curtain, at the back of the stage, as part of the background. Additional flats can highlight doors and set pieces can be arranged as if the curtains were walls.

DESIGN REQUIREMENTS A play’s scenery will depend upon the Ø Stage facilities Ø Available crew Ø Budgeted time Ø Budgeted money

DESIGN REQUIREMENTS ü SHOULD PROVIDE ADEQUATE SPACE FOR MOVEMENT, INCLUDING SEVERAL ACTING AREAS OR LEVELS USING THE WHOLE STAGE

DESIGN REQUIREMENTS ü Should communicate the time and place in which the action occurs and the cultural, social, and economic status of the characters

DESIGN REQUIREMENTS ü Audience should be able to judge the mood and style of the play from observing the scenery with its particular color and design.

DESIGN REQUIREMENTS ü Should be technically usable and safe; doors and windows must open if they are to be used; stairs, platforms, and ramps must be built firmly if they are to bear the actor’s weight. Scenery must be planned for quick shifts carried out safely.

DESIGN REQUIREMENTS ü Should be unified, balanced, and varied, and it should allow for the actors’ faces to be readily seen. -unobtrusive – enhances acting, but does not overpower or hamper acting

DESIGN REQUIREMENTS ü Should include set pieces that are functional and that contribute to the overall design of the set.

SETTING THE MOOD WITH COLOR v. White – pure, truthful v. Black – tragic, deathly v. Gray – neutral, somber v. Yellow – happy, childlike, cowardly, ill v. Orange – lively, cheerful Careful use of color can help establish the character and overall mood in a play and influence the audience’s reponse.

SETTING THE MOOD WITH COLOR v. Violet (purple) – royal, mystic v. Blue – tranquil, spiritual, sad v. Green – natural, youthful, jealous v. Red – passionate, angry, aggressive v. Pink – childlike, romantic