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Stage Settings

Stage Settings. Sharon Swift. Early Renaissance. Sets included: Painted walls of city streets and a large central entrance–forerunner of the proscenium arch. Prism sets and raked stages were sometimes used. Experimentation with other backdrops, wing settings, revolving stages, and shutters. .

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Stage Settings

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  1. Stage Settings Sharon Swift

  2. Early Renaissance • Sets included: • Painted walls of city streets and a large central entrance–forerunner of the proscenium arch. • Prism sets and raked stages were sometimes used. • Experimentation with other backdrops, wing settings, revolving stages, and shutters.

  3. During the Restoration • End-stage action took place on the raked apron. • Little action occurring behind the proscenium in the scenery.

  4. 19th-century • Efforts made to the individual play. • Mid century: more realism—settings changed as the apron shrank, orchestra seats were added, painted backdrops were eliminated, and wings were closed.

  5. 20th century • Experimentation with scenery is common. • Naturalism peaked with the photographically accurate sets. • Designers typically use a proscenium set that has all the essential entrances, and two-sided or three sided rooms.

  6. Types of Sets • Box set, which consists up two or three walls built of flats often covered by a ceiling • A unit set, which consists of several scenic units which can be moved about the stage, turned, and interchanged to create several settings. • Permanent set, which can vary in design but rarely changes during a play.

  7. Types of Sets • Profile set, which can be constructed of screens and forms the entire perimeter of the setting. • Curtain Set, which simply uses curtains as a backdrop for the play. • Skeleton set, which consists of frames and openings that can be left empty were filled by draperies, backings, and doors.

  8. Before Designing a Set • Size and shape of the auditorium • Details about the available space • Storage space • Dimensions of the apron and the wings • The number and the sizes of flats, drops, and scrims. • … whether they are special units

  9. In addition… • The designer must have a good knowledge of the play and the audience.

  10. Four Key Considerations • Unity—all of the elements on a set form a whole that centers on the theme of the play. • Emphasis—focuses on a particular object, area or furnishing. • Proportion—all elements are scaled realistically if realism is the goal, or distorted appropriately if non-realism is the goal; and Balance ---the distribution of emphasis from one side of the stage to the other.

  11. The Steps in Constructing a Flat • Gathering the materials and hardware • Assembling and bracing the frame, which can be done through the use of butt joints or preferably, miter joints. • Watching the frame with a flameproof solution. • Covering the frame with cloth. Sizing the cloth.

  12. Steps in Constructing a Flat • Sizing the cloth • Attaching a lash line • The best fabric for covering flats is canvas, but because it is expensive to purchase, the next best choice is unbleached muslin.

  13. Shifting Scenery • Requires an experienced crew • Stage manager is responsible • Directs the crew members • That grips moved flats, periaktoi , and set pieces. • Fly crew raises and lowers scenery and draperies.

  14. Color Choice • Page 422. • Analyze the set design on page 422. Look at the types of sets. Discuss why do you think this scenery was made the way it was.

  15. Lighting and Sound • Key elements • In establishing mood, atmosphere, and setting in a play. • Effective lighting conveys a particular interpretation. • While the lighting technician needs to know the technical aspects, every one should understand how lighting effects the elements of production. Without a sound system most audiences would not be able to hear the actors

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