Scenic Design and it's components



Introduction

The most attractive thing about technical theatre is that we are constantly creating something out of nothing. When you begin, there is a dark, empty stage and an idea. Then you build it, light it, and they come. They watch the show, they leave, and you take it all down. The stage is bare, the lights are off, and the circle of life continues. How to get from empty stage to empty stage is what this book is
about.Still, even if you read this book cover to cover (which you will) and memorize every
term and concept (you might), you still will need to practice the craft (not that kind
of craft!). Practice makes perfect, and although nothing is perfect, through experience
you will get better. Face it, we never stop learning. And if we ever do, we have stopped
living. Technology might change the way we do things, but it is still the knowledge
that creates the craft, not the tools. The tools are important and necessary, but it is the
use of these tools that will take you places.

The Basic Scenic Building Blocks

Let’s face it. There are really only two basic scenic forms that all sets are made from:
vertical and horizontal. Of the two most basic and familiar forms, we call the vertical
ones flats and the horizontal ones platforms. Any variation of shape, structure, or design
does not alter the fact that we have to have something vaguely horizontal for people
to stand on and something sort of vertical behind them to create a believable envi-
ronment to tell our stories. Even if you were to find the perfect location with the right
size and shape of interior and you put your talent in front of one of those perfect walls,
for our purposes it’s just an overbuilt flat.

Communicating Your Ideas

Believe it or not, some people aren’t as visually gifted as you are.You have to lay every-
thing out for them in graphic detail. We call these people producers, directors, and
actors. Who, Where, and When Research,
or Don’t Reinvent the Wheel Take a look at the time period during which you’ve agreed to set the play. Newspa- pers and periodicals can provide wonderful examples of the kinds of things that were going on at the time. Catalogues from the era are nice for props and dressings, to get an idea of the styles of items your character might have. Look at the popular art of the time. If your setting is an actual historical place, get as many graphic resources as you can. If it’s a contemporary piece, go to the magazine rack at the bookstore and make
copies of anything that seems applicable or that you just like. Sometimes an image may
not be the right time period but have a shape or color or mood that speaks to you.
Put them all in your notebook.
All of this research will help you get a look into the world of the characters. Research
the types of things the characters might read, books they would own, or art they would
like. See how this information might change what you think of the characters and who
they are.




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