book

The Craft and Art of Scenic Design

by Robert Klingelhoefer

November 2016

Beginner

300 pages

9h 15m

English

Routledge

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ASSESSING DESIGNPRODUCTION: OKLAHOMA!A LANGUAGE OF CLUESSUMMARY
A (VERY) BRIEF HISTORY OF STAGE DESIGNThe Greek and Roman TheatreThe Elizabethan StageAsian TheatreThe Seventeenth and Eighteenth CenturiesThe Nineteenth CenturyModern Stage DesignA Closer Look: An Example of Modern Stage DesignTHREE STRONG INFLUENCES ON DESIGN TODAYConstructivismBrecht and His DesignersAction DesignCONTEMPORARY PRACTICE: POSTMODERN STAGE DESIGNCharacteristics of Postmodern DesignA Closer Look: A Postmodern ExamplePostmodernism Wrap-UpDESIRE UNDER THE ELMS: EXAMPLES OF CHANGERESOURCES: SOME CONTEMPORARY AMERICAN DESIGNERS AND HOW TO FIND OUT MOREA FINAL NOTEREADING LISTSUMMARYA NOTE ON THE PROJECTSPROJECT: RESEARCH A DESIGNERPROJECT: SKETCH AND PLAN
COLLABORATIONSTRATEGIES: TALKING ABOUT THE PLAYCOLLABORATING THROUGH IMAGESSTRATEGIES: AS MEETINGS PROGRESSWhat to Show the Director and WhenThe GroundplanTHINKING LIKE A DIRECTORDesigning MomentsBlockingStage PicturesProduction Case StudiesPRODUCTION: HAMLETPRODUCTION: CHARLOTTE’S WEBSOME FINAL THOUGHTS ON COLLABORATIONTrustOpenness and ChangeWhen Things Don’t Go Your WaySUMMARYPROJECT: THE PROJECT PLAYPROJECT: STAGE PICTURES
GENRE AND STYLETHE TWO TYPES OF TEXTPrimary TextSecondary TextREADING THE PLAYFirst ReadConsider Not Reading the Set DescriptionRead Like a DirectorFrench ScenesTHE BREAKDOWNREVIEWING THE FACTSWho and What = Character and ActionWhen and Where = Time and PlaceHow and Why = Plot, Theme, and MoodWORKING WITH WORDSThe Style of the Playwright’s LanguageWords as ImagesMusic as TextPRODUCTION: THE GLASS MENAGERIEREADING LISTSUMMARYPROJECT: TEXT

RESEARCH AND HISTORYMAKING THE PAST REALPre-photographic ResearchPhotographic ResearchEconomic StyleACQUISITIVE RESEARCHMaking the Past FreshPERIODAnachronismsPeriod CostumesWHAT TO RESEARCHPlay and PlaywrightOther ProductionsNonspecific ResearchHow Much Research Is Enough?The Right StuffA RESEARCH AGENDAProduction Bible and DropboxCOMBINING KEY IMAGESPRODUCTION: SUMMER AND SMOKEMAKING CONNECTIONSPRODUCTION: THE GRAPES OF WRATHCREATING A RESEARCH FILEREADING LISTSUMMARYPROJECT: RESEARCHING THE PROJECT PLAY
CHOICESLOOKING FOR ADJECTIVESTHE WRITTEN STATEMENTOBJECTS HAVE MEANINGStudy the Characters and Themes in the PlayResearch the Locations and Things in the PlayPRODUCTION: CAROUSELPRODUCTION: AND THE SOUL SHALL DANCEPRODUCTION: A CHRISTMAS CAROLSUMMARYPROJECT: THE DESIGNABLE IDEA
CONSIDERATIONS REGARDING SPACEEmotional SpaceMovement in SpaceDefining SpaceFlowAngles or Parallel/Perpendicular?ARRANGING OBJECTS IN STAGE SPACEPlanning Space by Architectural LogicPlanning Space from the Performer’s PerspectiveLoosening UpFINITE SPACEThe Given SpaceToo LargeToo SmallPRODUCTION: MOTHER COURAGETYPES OF THEATRICAL SPACESThe Proscenium StageThe Thrust StageThe Arena StageOther Stage TypesSIGHTLINES AND MASKINGSetting TrimsWORKING IN SPACEFirst Steps on a Single Set ProductionFirst Steps on a Multiple Set ProductionSUMMARYPROJECT: MODEL PLAYPROJECT: SPACE FOR THE PROJECT PLAY
THE DESIGN PROCESSFirst Phase of the Design ProcessDESIGN STRATEGIESElegance and EconomySelection, Abstraction, and TransformationCOLORSharing ColorTHE REDESIGN PROCESSAssessing Your WorkDevelopmentRefinementPRODUCTION: INTO THE WOODSSUMMARYPROJECT: PROJECT PLAY COMPLETE
SKETCHESCross-HatchingPencil TechniqueCombining MediaStoryboardsResources: Materials for Drawing and SketchingRENDERINGSTraditional Rendering TechniquesRendering DarknessDigital Rendering TechniquesSketchUpPhotoshopResources: Materials for RenderingsMODELSWhite ModelsFull-Color ModelsResources: Materials and Tools for Model BuildingDRAFTINGThe GroundplanThe SectionElevationsSUMMARY
ELEMENTS OF A SINGLE SET INTERIORCeilingsFloorsRaked DecksDoorsWindowsMoldingWallsStairs and PlatformsPRODUCTION: THE ECLECTIC SOCIETYPRODUCTION: 1001UNIT SETSNeutralityCommonalitySUMMARY
DESIGNING MOVING SCENERYFinding the Structure of the Show/Determining the Type of MovementCinematic MovementSOME COMMON APPROACHES AND SCENIC ELEMENTS USED IN MULTIPLE SET PRODUCTIONSSystemsPortalsIn-OnesDropsScrimsShow DecksWagons and PalettesRevolves, Slipstages, Treadmills, and JackknivesAutomationCASE STUDIES OF MOVING SCENERYPRODUCTION: FARRAGUT NORTHPRODUCTION: GOOD PEOPLEPRODUCTION: LES MIS’RABLESPRODUCTION: RAGTIMESUMMARY
THE FINAL PACKAGEThe Shift PlotThe Lineset ScheduleThe Elements ListCOST-OUTAPPROVAL MEETINGTHE SHOPSCENIC ARTPROPSLOAD-INTECHDRESS REHEARSALS AND OPENING NIGHTSUMMARY
TRAINING FOR THE PROFESSIONWEBSITES AND PORTFOLIOSPortfolio and Web DesignNavigationOrder of ProjectsUpkeepGRAD SCHOOLASSISTING VERSUS DESIGNINGACADEMIA, TV, AND FILMGETTING JOBSUSA829Why JoinWhen to JoinHow to JoinNEW YORK, NEW YORKBUSINESS RESPONSIBILITYGood Contracts Make Good Business PartnersA FINAL THOUGHT

Content preview from The Craft and Art of Scenic Design

Chapter 11Considerations for Productions with Moving Scenery

The first rule of designing a multiset production is that the shifts from one location to another must be quick and smooth and that this is a more important consideration than the design of the individual sets themselves. This concept requires the designer to think about the production with different priorities. How should the show move? Can the scenery be designed to move in a way that complements the design idea? In the case study of Into the Woods at the end of Chapter 8, the desire to have the trees move in a grounded, lateral way, as opposed to flying in and out, led to the key decisions that shaped the design.

How a production moves is both an aesthetic ...