Scenic Design

An overview of the elements of scenic design.

1. Scenic/Costume Design Learning Objectives Identify the visual elements and principles of design. Describe how scenic and costume design contribute to the theatrical power of a play or musical. Apply the terms and vocabulary to specific examples of live theatre to identify and differentiate the effects of scenery and costumes on a production. Discuss the tools and processes that scenic and costume designers use to accomplish their art. Discuss the contributions made by other related personnel to a theatrical production.

2. Scenic/Costume Design Key Concepts The scenic and costume designers help bring to life in three dimensions the world of the play, taking into account tone or mood, level of abstraction, period and location, and aesthetics of the play being produced. Set and costume design are as old as theatre itself. Although today, illusionism, or realism, is the dominant mode for set design, throughout history it has shifted from realistic to abstract to combinations of the two.

3. Scenic/Costume Design Key Concepts Designers' working processes may differ, but most utilize a similar set of building blocks and working methods. The materials used by the costume designer are somewhat more limited than those used by the scenographer . Both scenic and costume design involve an elaborate multi-step process, from play analysis to realization on stage. Careers in scenic or costume design require extensive training, either through apprenticeships in theatres or, more commonly, through more formal educational environments.

4. Scenic/Costume Design What does a set/costume designer do? T ell the story through their design

5. Brief History of Theatre Design Greek skene (background) Medieval wagons on wheels Renaissance paints perspectives, moves changing scenery, and adds vertical areas and furniture 17 th -19 th c invents box set (room with 3 walls) and recreates historical periods 19 th -20 th c symbolizes scenery, lighting, costumes 20 th -21 st c designs technological eclecticism

6. Scenic/Costume Design: Greek skene

7. Scenic/Costume Design: Pageant Wagons

8. Perspective Painting in Scenic Design

9. Scenic/Costume Design Realist sets are relatively new (circa mid-to-late 1800s) Rejected two-dimensional flats for three-dimensional space

10. Scenic/Costume Design: Design Eclecticism The Wooster Group, Vieux Carre

11. Designer Working Methods Designers ask these questions: How many settings are required? What size and shape will the stage be? How will the scenery be moved or shifted? What materials will be used to build the scenery? Are there any special effects?

12. Scenic/Costume Design: Creating a Concept Designers create mood and atmosphere through design Realistic? Metaphorical? Work with director to identify themes/images/metaphors Base their designs off of these

13. Processes for Building Scenery Draw groundplan in scale to space Draft blueprints of front/side elevations and measurements for all flats, platforms, units

14. Scenic and Costume Design Just as critics, directors, and actors read in specific ways, designers read in specific ways Try to visualize the world the characters live in Environment Clothing Time of day weather

15. Scenic/Costume Design

16. Scenic/Costume Design

17. Scenic/Costume Design

18. Scenic and Costume Design: Elements of Visual Design Line Shape Space Color Texture Ornamentation

19. Scenic and Costume Design Line Defines boundaries Permits us to perceive shape and form Either straight or curved

20. Scenic and Costume Design Line Top: Romeo and Juliet , designer Courtland Jones. Left, Elephant Man , design by Toni-Leslie James

21. Scenic and Costume Design: Shape and Space Often grouped together as Mass Works in three-dimensions Defined shape (square, round, oblong, etc.) Space (height, width, thickness)

22. Scenic Design: Shape and Space Left, Julius Caesar , designer Jonathan Midents . Right, Waiting for Spring , designer Alex Woodward

23. Scenic/Costume Design Color Three basic properties Hue allows us to identity a color Primary hues: yellow, red, blue Secondary hues: orange, violet, green Saturation/intensity is the purity of color Value is lightness or darkness of a color Colors light in value are tints Colors dark in value are shads Influence mood and atmosphere

24. Scenic/Costume Design: Color Note the hues of these iconic characters: Superman in primary colors, the Joker in secondry colors.

25. Scenic/Costume Design: Color Left, The Goat, costume design by Anthony Tran. Right, Reasons to be Pretty , costumes by Gail Astrid Buckley

26. Scenic/Costume Design: Texture Quality of sets and costumes Smoothness Roughness Shininess Softness graininess

27. Scenic/Costume Design: Texture Left, A Doll’s House , design by Judith Croft. Right, The Lower Depths , design by Kie Yomomoto

28. Scenic/Costume Design: Ornamentation Paintings Decorative Motifs Wallpaper Patterns Ruffles Buttons Fringe Lace

29. Scenic/Costume Design: Ornamentation Left, Ivanov , set design by Catherina Scholten . Right, The Beaux Strategem

30. Principles of Design Balance The distribution of weight in the space, so no element overpowers the others Variety Numerous uses of forms or types through design Proportion Measurement of size and quantity of elements within the composition Rhythm Pattern of consistency in color/lines Focus Purposeful direction of the eye of the viewer; emotional and/or critical response Harmony Untiy of all elements of design in the final product

31. Reading Elements and Principles of Design Blood Wedding

32. Reading Elements and Principles of Design Machinal

33. Reading Elements and Principles of Design Medea

34. Reading Elements and Principles of Design Hamlet Variations

35. Reading Elements and Principles of Design The Woman Without a Shadow

36. Reading Elements and Principles of Design Stirred From a Dream

37. Reading Elements and Principles of Design Metamorphoses

38. Scenic/Costume Design: Technical Vocabulary Flat Wooden or metal frame hung to add levels and isolate locations

39. Scenic/Costume Design: Technical Vocabulary Drops Large painted canvases usually hung in the background to provide locale True West and The Miser

40. Scenic/Costume Design: Technical Vocabulary Cyclorama (The “ Cyc ”) Large, white, tautly drawn curtain that can be used to project colors for background Dancing at Lughnasa and Water by the Spoonful

41. Scenic/Costume Design: Props Stage Properties (“Props”) Items used by actors on stage Several different categories: costume props, stage props, acting props